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SMITHSONIAN  INSTITUTION. 

UNITED  STATES  NATIONAL  MUSEUM. 


t>  / I ***-  ( f ^ . 3 


THE  SOCIAL  ORGANIZATION  AND  THE  SECRET 
SOCIETIES  OF  THE  KWAKIUTL  INDIANS. 


FRANZ  BOAS. 


From  the  Report  of  the  U.  S.  National  Museum  for  1895,  pages  31 1-737, 
with  fifty-one  plates. 


WASHINGTON : 

GOVERNMENT  PRINTING  OFFICE. 

1897. 


THE  SOCIAL  ORGANIZATION  AND  THE  SECRET 
SOCIETIES  OF  THE  KWAKIUTL  INDIANS, 


FRANZ  BOAS. 


BASED  ON  PERSONAL  OBSERVATIONS  AND  ON  NOTES  MADE  BY 
MR.  GEORGE  HUNT. 


311 


TABLE  OF  CONTESTS. 


Page. 


Preface 315 

I.  The  Indian  tribes  of  the  North  Pacific  Coast 317 


The  Indian  tribes  of  the  North  Pacific  Coast  form  one  ethnographical 
group,  p.  317 ; Geographical  character  of  the  country,  p.  317 ; Food, 
industries,  habitations,  p.  318;  Languages,  p. 320;  Physical  charac- 
teristics, p.  321;  Social  organization,  p.  322;  The  meanings  of  masks 
and  carvings,  p.  324. 

II.  The  social  organization  of  the  Kwakiutl 328 

Tribes  and  clans  of  the  Kwakiutl,  p.  328;  Development  of  the  present 
system  of  tribes  and  clans,  p.  332;  Mixture  of  paternal  and  maternal 
characteristics  in  the  social  organization  of  the  tribes;  Develop- 
ment, p.  334;  Crests  and  privileges  of  clans,  p.  336;  Traditions 
explaining  the  acquisition  of  the  crest,  p.  336;  The  nobility,  p.  338. 

III.  The  potlatch 341 

Rates  of  interest, -p.  341;  Building  up  of  fortunes,  p.  341;  Social  rank 
increased  by  distribution  of  property,  p.  342;  Rivalry  of  individuals 
and  clans,  p.  343;  The  use  of  copper  plates,  p.  344;  Destruction  of 
property,  p.  353 ; Potlatch  masks  and  songs,  p.  355. 

IV.  Marriage 358 

Marriage  a purchase  conducted  on  the  same  principles  as  the  purchase 
of  a copper,  p.  358;  Description  of  a marriage  of  the  Mamaleleqala, 
p.  359 ; Marriage  of  the  Koskimo,  p.  362 ; Marriage  of  the  L’a/sq’enOx, 
p.  364;  Return  of  purchase  money  by  the  father-in-law,  p.  365. 

V.  The  clan  legends 366 

Description  of  the  house,  p.  366;  Spirits  appearing  to  the  ancestors  of 
the  clans,  p.  371 ; The  sI'siuL,  p.  371 ; The  TsVnoqoa,  p.  372 ; QVmoqoa, 
p.374;  Explanations  of  carvings,  p.  375;  Legend  of  the  NunEma- 
sEqaTis,  p.  381;  O’maxt’a'laLe  legend,  p.  382;  The  deities  meeting 
the  ancestors,  p.  389;  Figures  of  speakers,  p.  390;  Dishes,  p.  390; 

Not  all  carvings  represent  the  totem,  p.  392;  Drums,  p.  393. 

VI.  The  spirits  presiding  over  the  religious  ceremonial  and  their  gifts 393 

Spirits  which  are  still  in  contact  with  the  Indians,  p.  393;  They 
are  also  hereditary,  p.  393 ; The  legend  of  BaxbakualanuXsI'wae 
and  No'aqaua,  p.  396;  BaxbakualanuXsI'wae  and  the  ancestor  of 
the  Oe'alitx,  p.  401 ; BaxbakualanuXsi'wae  and  the  ancestor  of  the 
T’Ena'xtax,  p.  403;  BaxbakualanuXsi'wae  and  the  ancestor  of  the 
Nimkish,  p.  405 ; The  ho'Xhok",  p.  406 ; The  ghost  dance,  p.  408 ; The 
sunrise  dance,  p.  410;  Ma'tEm,  p.  411;  Meina,  p.413;  Initiations  as 
parts  of  clan  legends,  p.  414. 

VII.  The  organization  of  the  tribe  during  the  season  of  the  winter  ceremonial . 418 

Suspension  of  clans  in  winter,  p.  418 ; The  societies,  p.  419 ; The  acqui- 
sition of  membership  in  a society  by  marriage,  p.  421 ; The  acquisition 
of  membership  by  war,  p.  424;  The  Bi'lxula  war,  p.  427. 


313 


314 


CONTENTS. 


Page. 

VIII.  The  dances  and  songs  of  the  winter  ceremonial 431 

The  object  of  the  winter  ceremonial,  p.  431;  Songs  and  dances,  p.  432; 
Mistakes  of  dancers,  p.  433;  Paraphernalia  of  the  dancers,  p.  435; 
Arrangement  of  seats  in  the  house,  p.  436;  The  ha  mats’ a and  his 
songs,  p.437;  Kd'nqalaLala  songs,  p.  460;  Q’o'minoqa,  p.  463;  Ha'ms- 
hamtsKs,  p.  463;  No'ntsistalaL,  p.  466;  Grizzly  bear,  p.  466;  NiiLmaL, 
p.  468 ; Na'naqaualiL,  p.  471 ; Ha/;maa,  pj  473 ; Salmon,  p.  474 ; Salmon 
weir,  p.  475;  Wasp  dance,  p.  476;  Thunder  bird  dance,  p.476;  Eagle 
dance,  p.  476 ; Wolf  dances,  p.  477 ; Ts’d'noqoa  dance,  p.  479 ; Ia'k’im 
dance,  p.  480;  SPsiuL  dance,  p.  482 ; Chieftainess  dance,  p.  482 ; Ghost 
dance,  p.482;  Ma'tEm,  p.  483;  Na'xnak-aqEmL  and  MeiLa,  p.  484; 
Ma/maq’a,  p.  485;  T’o'X’uit,  p.  487;  A/’mlala,  p.  494;  Hawi'nalaL,  p. 

495 ; Xoa'exoe,  p.  497 ; HaPalikdniL,  p.  497 ; Wa/tanEm,  p.  498 ; Order 
of  dances,  p.  498. 

IX.  The  winter  ceremonial  of  the  Kwakiutl 500 

I.  The  Laxsa,  p.  500;  Notice  of  the  festival,  p.  501 ; The  first  assembly, 
p.  504;  The  transfer  of  membership  to  the  son-in-law,  p.  518;  The 
k-ikdTnala,  p.  522 ; The  purification,  p.  532.  II.  The  Wfxsa  or  Kue'x- 
alak11,  p.  540. 


X.  The  winter  ceremonial  at  Fort  Rupert,  1895-96 544 

XI.  Ceremonials  of  other  tribes  of  Kwakiutl  lineage 606 

1.  The  Koskimo,  p.  606.  2.  The  La'Lasiqoala,  p.  611.  3.  The  T’Ena'xtax 
and  TsVwatEendx,  p.  616. 

XII.  The  Lao'laxa . J 621 

Preliminaries  to  the  Laolaxa,  p.  621;  The  ceremonial,  p.  624;  Songs 
and  masks,  p.  630. 

XIII.  The  religious  ceremonials  of  other  tribes  of  the  North  Pacific  Coast 632 

1.  The  Nootka,  p.  632.  2.  The  Lku'ngEn,  p.  644.  3.  The  BiTxula,  p. 

646.  4.  The  Tsimshian,  Nisqa7,  Haida,  and  Tlingit,  p.  651. 

XIV.  The  growth  of  the  secret  societies 660 

Appendix. — Songs  and  texts 665 


THE  SOCIAL  ORGANIZATION  AND  THE  SECRET  SOCIETIES  OF 
THE  KWAKIUTL  INDIANS. 


By  Franz  Boas. 


PREFACE. 

The  following  paper  describes  and  illustrates  the  collections  of  the 
U.  S.  National  Museum  referring  to  the  social  organization  and  secret 
societies  of  the  Indians  of  the  coast  of  British  Columbia.  It  is  based 
on  studies  made  by  the  author  during  a series  of  years.  The  great  body 
of  facts  presented  here  were  observed  and  recorded  by  Mr.  George 
Hunt,  of  Fort  Bupert,  British  Columbia,  who  takes  deep  interest  in 
everything  pertaining  to  the  ethnology  of  the  Kwakiutl  Indians  and  to 
whom  I am  under  great  obligations.  I am  indebted  to  him  also  for  expla- 
nations of  ceremonials  witnessed  by  myself,  but  the  purport  of  which 
was  difficult  to  understand,  and  for  finding  the  Indians  who  were  able  to 
give  explanations  on  certain  points. 

My  thanks  are  due  to  Mr.  C.  O.  Hastings,  of  Victoria,  British 
Columbia,  who  took  a series  of  photographs,  reproductions  of  which 
will  be  found  in  this  report.  A series  of  phonographic  records  of 
songs  belonging  to  the  ceremonials  were  transcribed  by  Mr.  John  C. 
Fillmore  and  myself.  I also  had  opportunity  to  verify  many  of  the 
phonographic  records  by  letting  the  Indians  repeat  the  songs  two  years 
after  the  records  had  been  taken. 

I have  also  to  thank  Prof.  A.  Bastian,  director  of  the  Royal  Ethno- 
graphical Museum  at  Berlin,  Sir  Augustus  W.  Franks,  keeper  of  the 
ethnographical  department  of  the  British  Museum,  Mr.  Franz  Heger, 
director  of  the  ethnographical  department  of  the  Imperial  Royal 
Museum  of  Natural  History  at  Vienna,  and  Prof.  F.  W.  Putnam, 
curator  of  the  department  of  anthropology  of  the  American  Museum 
of  Natural  History  at  New  York,  for  permission  to  use  specimens  con- 
tained in  the  collections  of  these  museums  for  illustrating  the  present 
report. 


315 


316 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


a,  e,  1,  o,  u, 
a,  e,  I,  o,  u, 

u 

E 

a 

a 

6 

e 


ai 

an 

1 

T 


The  following  alphabet  has  been  used  in  transcribing  Indian  words 
and  names : 

liave  their  continental  sounds  (short), 
long  vowels. 

not  articulated,  but  indicated  by  position  of  the  mouth, 
obscure  e,  as  in  dower, 
in  German  Bar. 
aw  in  law. 

0 in  German  roll. 
e in  bell. 

1 in  hill. 

separates  vowels  which  do  not  form  diphthongs, 
i in  island, 
ow  in  how. 
as  in  English. 

posterior,  palatal  1;  the  tip  of  the  tongue  touches  the 
alveoli  of  the  lower  jaw,  the  back  of  the  tongue  is 
pressed  against  the  hard  palate,  sonant, 
the  same,  short  and  exploded  (surd), 
velar  k. 
velar  g. 

English  k. 

palatized  k,  almost  ky. 
palatized  g,  almost  gy. 
ch  in  German  Bach. 

x pronounced  at  posterior  border  of  hard  palate,  between 
x and  x- . 

palatal  ch  in  German  ick. 
as  in  English. 

English  sh. 

as  in  English,  but  surd  and  sonant  are  difficult  to  dis- 
tinguish. 


as  in  English.' 
as  in  year. 


w 

m 

n 


I 


as  in  English. 

a pause;  when  following  a consonant  combined  with  in- 
crease of  stress  of  articulation. 


' accent. 

The  texts  ot  Indian  songs,  phrases,  and  legends  do  not  lay  any  claim 
to  philological  accuracy.  They  are  merely  inserted  here  as  authen- 
ticating the  translations  and  the  material  presented  in  this  paper.  It 
may  be  that  a further  study  of  the  songs  will  modify  the  transla- 
tions in  many  respects.  The  obscurity  of  the  songs  is  often  very  great, 


THE  KWAKIUTL  INDIANS. 


317 


and  my  knowledge  of  the  language  is  not  sufficient  to  overcome  the 
difficulties  of  an  adequate  translation. 

I.  The  Indian  Tribes  of  the  North  Pacific  Coast. 

The  Pacific  Coast  of  America  between  Juan  de  Fuca  Strait  and 
Yakutat  Bay  is  inhabited  by  a great  many  Indian  tribes  distinct  in 
physical  characteristics  and  distinct  in  languages,  but  one  in  culture. 
Their  arts  and  industries,  their  customs  and  beliefs,  differ  so  much 
from  those  of  all  other  Indians  that  they  form  one  of  the  best  defined 
cultural  groups  of  our  continent. 

While  a hasty  glance  at  these  people  and  a comparison  with  other 
tribes  emphasize  the  uniformity  of  their  culture,  a closer  investigation 
reveals  many  peculiarities  of  individual  tribes  which  prove  that  their 
culture  has  developed  slowly  and  from  a number  of  distinct  centers, 
each  people  adding  something  to  the  culture  which  we  observe  at  the 
present  day. 

The  region  inhabited  by  these  people  is  a mountainous  coast  inter- 
sected by  innumerable  sounds  and  fiords  and  studded  with  islands, 
large  and  small.  Thus  intercourse  along  the  coast  by  means  of  canoes 
is  very  easy,  while  access  to  the  inland  is  difficult  on  account  of  the 
rugged  hills  and  the  density  of  the  woods.  A few  fiords  cut  deep  into 
the  mainland,  and  the  valleys  which  open  into  them  give  access  to  the 
heart  of  the  high  ranges  which  separate  the  coast  from  the  highlands 
of  the  interior,  forming  an  effectual  barrier  between  the  people  of  the 
interior  and  those  of  the  coast.  These  fiords  and  their  rivers  and  val- 
leys offer  comparatively  easy  access  to  the  coast,  and  along  these  lines 
interchange  of  culture  has  taken  place.  Extending  our  view  a little 
beyond  the  territory  defined  above,  the  passes  along  which  the  streams 
of  culture  flowed  most  easily  were  Columbia  River  in  the  south  and 
the  pass  leading  along  Salmon  and  Bella  Coola  rivers  to  Dean  Inlet 
and  Bentinck  Arm.  Of  less  importance  are  Chilcat  Pass,  Stikine 
River,  Nass  and  Skeena  rivers,  and  Fraser  River.  Thus  it  will  be  seen 
that  there  are  only  two  important  and  four  less  important  passes,  over 
which  the  people  of  the  coast  came  into  contact  with  those  of  the 
interior.  Thus  they  have  occupied  a rather  isolated  position  and  have 
been  able  to  develop  a peculiar  culture  without  suffering  important 
invasions  from  other  parts  of  America. 

As  the  precipitation  all  along  the  coast  is  very  great,  its  lower  parts 
are  covered  with  dense  forests  which  furnish  wood  for  building  houses, 
canoes,  implements,  and  utensils.  Among  them  the  red  cedar  ( Thuya 
gigantea ) is  the  most  prominent,  as  it  furnishes  the  natives  with  mate- 
rial for  most  manufactures.  Its  wood  serves  for  building  and  carving; 
its  bark  is  used  for  making  clothing  and  ropes.  The  yellow  cedar,  pine, 
fir,  hemlock,  spruce,  yew  tree,  maple,  alder,  are  also  of  importance  to 
the  Indians.  The  woods  abound  witli  numerous  kinds  of  berries,  which 


318 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


are  eagerly  sought  for.  The  kelp  and  seaweeds  which  grow  abundantly 
all  along  the  shore  are  also  utilized. 

In  the  woods  the  deer,  the  elk,  the  black  and  grizzly  bear,  the  wolf, 
and  many  other  animals  are  found . The  mountain  goat  lives  on  the 
higher  ranges  of  the  mainland.  The  beaver,  the  otter,  marten,  mink, 
and  fur  seal  furnish  valuable  skins,  which  were  formerly  used  for  blan- 
kets. The  Indians  keep  in  their  villages  dogs  which  assist  the  hunters. 

The  staple  food  of  the  Indians  is,  however,  furnished  by  the  sea. 
Seals,  sea  lions,  and  whales  are  found  in  considerable  numbers ; but  the 
people  depend  almost  entirely  upon  various  species  of  salmon,  the  hali- 
but, and  the  oulachon  or  candlehsh  ( ThaleicMhys  pacificus,  Girard), 
which  are  caught  in  enormous  quantities.  V arious  specimens  of  cod  and 
other  sea  fish  also  furnish  food.  Herrings  visit  the  coast  early  in  spring. 
In  short,  there  is  such  an  abundance  of  animal  life  in  the  sea  that  the 
Indians  live  almost  solely  upon  it.  Besides  fish,  they  gather  various 
kinds  of  shellfish,  sea  urchins,  and  cuttlefish. 

The  people  are,  therefore,  essentially  fishermen,  all  other  pursuits 
being  of  secondary  importance.  Whales  are  pursued  only  by  the  tribes 
of  the  west  coast  of  Vancouver  Island.  Other  tribes  are  satisfied  with 
the  dead  carcasses  of  whales  which  drift  ashore.  Sea  lions  and  seals 
are  harpooned,  the  barbed  harpoon  point  being  either  attached  to  a 
bladder  or  tied  to  the  stern  of  the  canoe.  The  harpoon  lines  are  made 
of  cedar  bark  and  sinews.  The  meat  of  these  sea  animals  is  eaten, 
while  their  intestines  are  used  for  the  manufacture  of  bowstrings  and 
bags.  Codfish  and  halibut  are  caught  by  means  of  hooks.  These  are 
attached  to  fish  lines  made  of  kelp.  The  hook  is  provided  with  a 
sinker,  while  the  upper  part  is  kept  afloat  by  a bladder  or  a wooden 
buoy.  Cuttlefish  are  used  for  bait.  The  fish  are  either  roasted  over  or 
near  the  fire  or  boiled  in  wooden  kettles  by  means  of  red-hot  stones. 
Those  intended  for  use  in  winter  are  split  in  strips  and  dried  in  the  sun 
or  over  the  fire.  Salmon  are  caught  in  weirs  and  fish  traps  when  ascend- 
ing the  rivers,  or  by  means  of  nets  dragged  between  two  canoes.  Later 
in  the  season  salmon  are  harpooned.  For  fishing  in  deeper  water,  a 
very  long  double-pointed  harpoon  is  used.  Herring  and  oulachon  are 
caught  by  means  of  a long  rake.  The  oulachon  are  tried  in  canoes  or 
kettles  filled  with  water,  which  is  heated  by  means  of  red-hot  stones. 
The  oil  is  kept  in  bottles  made  of  dried  kelp.  In  winter,  dried  halibut 
and  salmon  dipped  in  oil  is  one  of  the  principal  dishes  of  the  tribes  living 
on  the  outer  coast.  Clams  and  mussels  are  collected  by  the  women; 
they  are  eaten  fresh,  or  strung  on  sticks  or  strips  of  cedar  bark  and 
dried  for  winter  use.  Cuttlefish  are  caught  by  means  of  long  sticks; 
sea  eggs  are  obtained  by  means  of  round  bag  nets.  Fish  roe,  particu 
larly  that  of  herring,  is  collected  in  great  quantities,  dried,  and  eaten 
with  oil. 

Sea  grass,  berries,  and  roots  are  gathered  by  the  women.  The  sea 
grass  is  cut,  formed  into  square  cakes,  and  dried  for  winter  use.  The 
same  is  done  with  several  kinds  of  berries,  which  when  used  are  dis- 
solved in  water  and  eaten  mixed  with  fish  oil.  Crab -apples  are  boiled 


THE  KWAKIUTL  INDIANS. 


319 


and  kept  in  their  juice  until  late  in  the  winter.  They  are  also  eaten 
with  fish  oil.  The  food  is  kept  in  large  boxes  which  are  bent  of  cedar 
wood,  the  bottom  being  sewed  to  the  sides. 

In  winter,  deer  are  hunted.  Formerly  bows  and  arrows  were  used  in 
their  pursuit,  but  these  have  now  been  replaced  by  guns.  The  bow 
was  made  of  yew  wood  or  of  maple.  The  arrows  had  stone,  bone,  and 
copper  points.  Bows  and  arrows  were  carried  in  wooden  quivers.  Deer 
are  also  captured  by  being  driven  iuto  large  nets  made  of  cedar  bark, 
deer  sinews,  or  nettles.  Elks  are  hunted  in  the  same  way.  For  smaller 
animals  traps  are  used.  Deer  and  bears  are  also  caught  in  large  traps. 
Birds  were  shot  with  arrows  provided  with  a thick  blunt  point.  Deer- 
skins are  worked  into  leather  and  used  for  various  purposes,  principally 
for  ropes  and  formerly  for  clothing. 

The  natives  of  this  region  go  barelegged.  The  principal  part  of 
their  clothing  is  the  blanket,  and  this  was  made  of  tanned  skins  or 
woven  of  mountain-goat  wool,  dog’s  hair,  feathers,  or  a mixture  of 
both.  The  thread  is  spun  on  the  bare  leg  and  by  means  of  a spindle. 
Another  kind  of  blanket  is  made  of  soft  cedar  bark,  the  warp  being 
tied  across  the  weft.  These  blankets  are  trimmed  with  fur.  At  the 
present  time  woolen  blankets  are  most  extensively  used.  At  festive 
occasions  “ button  blankets”  are  worn.  Most  of  these  are  light  blue 
blankets  with  a red  border  set  with  mother-of-pearl  buttons.  Many 
are  also  adorned  with  the  crest  of  the  owner,  which  is  cut  out  in  red 
cloth  and  sewed  on  to  the  blanket.  Men  wear  a shirt  under  the  blanket, 
while  women  wear  a petticoat  in  addition.  Before  the  introduction  of 
woolen  blankets,  women  used  to  wear  an  apron  made  of  cedar  bark  and 
a belt  made  of  the  same  material.  When  canoeing  or  working  on  the 
beach,  the  women  wear  large  water-tight  hats  made  of  basketry.  In 
rainy  weather  a water-tight  cape  or  poncho  made  of  cedar  bark,  is 
used. 

The  women  dress  their  hair  in  two  plaits,  while  the  men  wear  it  com- 
paratively short.  The  latter  keep  it  back  from  the  face  by  means  of  a 
strap  of  fur  or  cloth  tied  around  the  head.  Ear  and  nose  ornaments 
are  used  extensively.  They  are  made  of  bone  and  of  abalone  sheil. 
The  women  of  the  most  northern  tribes  (from  about  Skeena  River  north- 
ward) wear  labrets. 

A great  variety  of  baskets  are  used — large  wicker  baskets  for  carry- 
ing fish  and  clams,  cedar -bark  baskets  for  purposes  of  storage.  Mats 
made  of  cedar  bark,  and  in  the  south  such  made  of  rushes,  are  used  for 
bedding,  packing,  seats,  dishes,  covers  of  boxes,  and  similar  purposes. 

In  olden  times  work  in  wood  was  done  by  means  of  stone  and  bone 
implements.  Trees  were  felled  with  stone  axes  and  split  by  means  of 
wooden  or  bone  wedges.  Boards  were  split  out  of  cedar  trees  by  means 
of  these  wedges.  After  the  rough  cutting  was  finished,  the  surface  of 
the  wood  was  planed  with  adzes,  a considerable  number  of  which  were 
made  of  jade  and  serpentine  bowlders,  which  materials  are  found  in 
several  rivers.  Carvings  were  executed  with  stone  and  shell  knives. 


320 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


Stone  mortars  and  pestles  were  used  for  mashing  berries.  Paint  pots 
of  stone,  brushes,  and  stencils  made  of  cedar  bark  formed  the  outfit  of 
the  Indian  painter.  Pipes  were  made  of  slate,  of  bone,  or  of  wood. 

Canoes  are  made  of  cedar  wood.  The  types  of  canoes  vary  some- 
what among  the  different  tribes  of  the  coast,  depending  also  largely 
upon  whether  the  canoe  is  to  be  used  for  hunting,  traveling,  or  fishing. 
The  canoe  is  propelled  and  steered  by  means  of  paddles. 

The  houses  are  made  of  wood  and  attain  considerable  dimensions. 
The  details  of  construction  vary  considerably  among  the  various  tribes, 
but  the  general  appearance  is  much  alike  from  Comox  to  Alaska,  while 
farther  south  the  square  northern  house  gives  way  to  the  long  house  of 
the  Coast  Salish.  A detailed  description  of  the  house  will  be  given 
later  on. 

The  tribes  comprising  the  North  Pacific  group  speak  a great  many 
different  languages.  Prom  north  to  south  we  find  the  following  lin- 
guistic families,  which  are  subdivided  in  numerous  dialects,  as  follows: 

I.  Tlingit,  inhabitating  southern  Alaska. 

II.  Haida,  inhabiting  Queen  Charlotte  Islands  and  part  of  Prince 
of  Wales  Archipelago. 

III.  Tsimshian,  inhabiting  Nass  and  Skeena  rivers  and  the  adjacent 

islands. 

1.  Nisqa',  on  Nass  Eiver. 

2.  Gyitkca'n,  on  upper  Skeena  Eiver. 

3.  Ts’E'mcian,  on  lower  Skeena  Eiver  and  the  adjacent  islands. 

IV.  Wakashan,  inhabiting  the  coast  from  Gardiner  Channel  to  Cape 

Mudge,  the  region  around  Dean  Inlet  excepted  5 Vancouver 
Island,  except  its  southeastern  part,  from  Comox  to  Sooke 
Inlet;  and  Cape  Flattery. 

A.  Kwakiutl  group. 

1.  Xa-isla,  on  Gardiner  and  Douglass  channels. 

2.  Hefiltsuq,  from  Gardiner  Channel  to  Eivers  Inlet. 

3.  Kwakiutl,  from  Eivers  Inlet  to  Cape  Mudge. 

B.  Nootka  group,  inhabiting  the  west  coast  of  Vancouver  Island 

and  Cape  Flattery. 

V.  Salishan,  inhabiting  the  coast  of  the  mainland  and  the  eastern 
part  of  Vancouver  Island  south  of  Cape  Mudge,  the  southern 
part  of  the  interior  as  far  east  as  the  Selkirk  Eange,  and  the 
northern  parts  of  Washington,  Idaho,  and  Montana;  also  the 
region  of  Dean  Inlet. 

A.  The  Coast  Salish. 

1.  BUlxula,  on  Dean  Inlet  and  Bentinck  Arm. 

2.  QaLofitx,  at  Comox  and  Toba  Inlet,  formerly  north  of 

Cape  Mudge. 

3.  PE'nLatc,  at  Comox. 

4.  SUciaL,  on  Jervis  Inlet. 

5.  Sqxo'mic,  on  Howe  Sound  and  Burrard  Inlet. 

6.  Qau'etcin,  on  Cowichan  Eiver  and  lower  Fraser  Eiver. 


THE  KWAKIUTL  INDIANS. 


321 


7.  Lku'ngEn,  on  the  southeastern  part  of  Vancouver  Island. 

This  dialect  is  nearly  identical  with  the  S’a'mic, 
SEmia'ino,  Xiui/mi,  and  Ea'lam,  the  last  of  which  is 
spoken  south  of  Fuca  Strait,  while  the  others  are 
spoken  east  of  the  Gulf  of  Georgia. 

8.  Nsqoa'li  and  affiliated  dialects  of  Puget  Sound. 

9.  Twa/nuX,  at  Union  City,  Puget  Sound. 

10.  Sqau'elitsk,  on  Cowlitz  River. 

11.  Sa/tsEpc,  on  Chehalis  River. 

12.  Tsxe'lis,  on  Greys  Harbor. 

13.  Kwl'naiuL,  north  of  Greys  Harbor. 

14.  TTle'mukc,  south  of  the  mouth  of  Columbia  River. 

B.  Salishan  languages  of  the  interior. 

1.  XLak-a/pamuX,  on  the  canyon  of  Fraser  River  and  the 

lower  course  of  Thompson  River. 

2.  SLa/LiumX,  on  Douglas  and  Lillooet  lakes. 

3.  SExua/pamuX,  from  Ashcroft  to  the  northern  extremity 

of  Okanagan  Lake,  the  Big  Bend  of  the  Columbia, 
and  Quesnelle. 

4.  Okina/qen,  with  the  closely  related  Kalispelm,  Spokane, 

Flathead  s. 

VI.  Chemakum,  south  of  Cape  Flattery  and  near  Port  Townsend. 
VII.  Chinook,  on  Columbia  River. 

Among  these  languages,  Tlingit  andHaida  on  the  one  hand,  Kwakiutl, 
Salishan,  and  Chemakum  on  the  other,  show  certain  similarities  in  form 
which  induce  me  to  consider  these  groups  as  more  closely  related  among 
themselves  than  to  the  other  languages. 

The  physical  characteristics  of  the  Indians  of  this  region  show  also 
that  they  are  by  no  means  a homogeneous  people.  So  far  as  we  know 
now,  we  may  distinguish  four  types  on  the  coast  of  British  Columbia: 
The  northern  type,  embracing  theXisqa'  and  Tsimshian;  the  Kwakiutl 
type ; that  of  Harrison  Lake;  and  the  Salish  of  the  interior,  as  rep- 
resented by  the  Okanagan,  Flathead,  and  Shuswap.  The  following 
measurements  show  the  differences  of  types : 


Northern 

type. 

Kwakiutl. 

Harrison 

Lake. 

Salish  of 
the  interior. 

mm. 

mm. 

mm. 

mm. 

Stature  

J,  670 

1, 644 

1,580 

1, 679 

Index  of  height,  sitting 

53.7 

54.9 

53.1 

52.9 

Length  of  head 

195.5 

(196) 

183 

191.8 

Breadth  of  head 

161.5 

(161) 

164.5 

160.7 

Height  of  face 

120.5 

129.1 

115.5 

123 

Breadth  of  face 

156.5 

150.4 

151.5 

149.2 

Height  of  nose 

50.8 

55.7 

52.8 

55.6 

Breadth  of  nose 

40.1 

39.3 

37.5 

40.8 

Length-breadth  index 

83.5 

83.8 

88.8 

83.4 

Facial  index 

77 

86.7 

76.2 

83.6 

Nasal  index 

79.5 

71.6 

72 

74 

NAT  MUS  95 21 


322 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


The  types  expressed  by  these  figures  may  be  described  as  follows: 
The  northern  Indians  are  of  medium  stature.  Their  arms  are  relatively 
long,  their  bodies  short.  The  head  is  very  large,  particularly  its  trans- 
versal diameter.  The  same  may  be  said  of  the  face,  the  breadth  of 
which  is  enormous,  as  it  exceeds  the  average  breadth  of  face  of  the 
North  American  Indian  by  6 mm.  The  height  of  the  face  is  moderate; 
therefore  its  form  appears  decidedly  low.  The  nose  is  very  low  as 
compared  to  the  height  of  the  face,  and  at  the  same  time  broad.  Its 
elevation  over  the  face  is  also  very  slight  only.  The  bridge  is  generally 
concave,  and  very  flat  between  the  eyes. 

The  Kwakiutl  are  somewhat  shorter,  the  trunks  of  their  bodies  are 
relatively  longer,  their  arms  and  legs  shorter  than  those  of  the  first 
group.  The  dimensions  of  the  head  are  very  nearly  the  same,  but  the 
face  shows  a remarkably  different  type,  which  distinguishes  it  funda- 
mentally from  the  faces  of  ail  the  other  groups.  The  breadth  of  the 
face  exceeds  only  slightly  the  average  breadth  of  face  of  the  Indian, 
but  its  height  is  enormous.  The  same  may  be  said  of  the  nose,  which 
is  very  high  and  relatively  narrow.  Its  elevation  is  also  A^ery  great. 
The  nasal  bones  are  strongly  developed  and  form  a steep  arch,  their 
lower  end  rising  high  above  the  face.  This  causes  a very  strongly 
hooked  nose  to  be  found  frequently  among  the  Kwakiutl,  which  type 
of  nose  is  almost  absent  in  all  other  parts  of  the  Pacific  Coast  This 
feature  is  so  strongly  marked  that  individuals  of  this  group  may  be 
recognized  with  a considerable  degree  of  certainty  by  the  form  of  the 
face  and  of  the  nose  alone. 

The  Harrison  Lake  type  has  a very  short  stature.  The  head  is 
exceedingly  short  and  broad,  surpassing  in  this  respect  all  other  forms 
known  to  exist  in  North  America.  The  face  is  not  very  wide,  but  very 
low,  thus  producing  a chamseprosopic  form,  the  proportions  of  which 
resemble  those  of  the  Nass  River  face,  while  its  dimensions  are  much 
smaller.  In  this  small  face  we  find  a nose  which  is  absolutely  higher 
than  that  of  the  Nass  River  Indian  with  his  huge  face.  It  is,  at  the 
same  time,  rather  narrow.  The  lower  portion  of  the  face  appears  very 
small,  as  may  be  seen  by  subtracting  the  height  of  the  nose  from  that 
of  the  face,  which  gives  an  approximate  measure  of  the  distance  from 
septum  to  chin. 

The  Salish  of  the  interior  have  a stature  of  168  cm.  Their  heads  are 
shorter  than  those  of  the  tribes  of  Northern  British  Columbia  or  of 
the  Indians  of  the  plains.  Their  faces  have  the  average  height  of  the 
Indian  face,  being  higher  than  that  of  the  northern  type  of  Indians, 
but  lower  than  that  of  the  Kwakiutl.  The  nose  is  high  and  wide,  and 
has  the  characteristic  Indian  form,  which  is  rare  in  most  parts  of  the 
coast. 

The  social  organization  of  the  tribes  of  the  coast  shows  considerable 
variation.  The  tribes  of  the  northern  parts  of  the  coast  have  a mater- 
nal organization,  while  those  in  the  south  are  purely  paternally  organ- 
ized. The  central  tribes,  particularly  the  Kwakiutl,  show  a peculiar 
transitional  stage. 


THE  KWAKIUTL  INDIANS. 


323 


The  Tlingit,  Haida,  Tsimshian,  and  Heiltsuq  have  animal  totems. 
The  first  of  these  have  two  phratries,  the  raven  and  wolf  among  the 
Tlingit,  raven  (Q’oa'la)  and  eagle  (G-ItEna')  among  the  Haida.  The 
Tsimshian  have  four  totems — raven  (Qanha'da),  eagle  (Laxsklyek), 
wolf  (Laxk-ebo7),  and  bear  (G-ispawaduwE'da) ; the  Heiltsuq  three — 
raven  (Qo'ix-tendx),  eagle  (WTk’oaqx-tendx),  and  killer  whale  (Ha'lx’- 
aix-tenox);  the  Xa-isla'  six — beaver,  eagle,  wolf,  salmon,  raven,  killer 
whale.  Animal  totems  in  the  proper  sense  of  this  term  are  confined  to 
these  five  groups  or  tribes.  They  are  not  found  among  the  Kwakiutl, 
although  they  belong  to  the  same  linguistic  stock  to  which  the  Xa-isla 
and  Heiltsuq  belong.  The  clans  of  the  northern  tribes  bear  the  names 
of  their  respective  totems  and  are  exogamous. 

It  must  be  clearly  understood,  however,  that  the  natives  do  not  con- 
sider themselves  descendants  of  the  totem.  All  my  endeavors  to 
obtain  information  regardiug  the  supposed  origin  of  the  relation 
between  man  and  animal  have  invariably  led  to  the  telling  of  a myth, 
in  which  it  is  stated  how  a certain  ancestor  of  the  clan  in  question 
obtained  his  totem.  The  character  of  these  legends  is  uniform  among 
all  the  peoples  of  this  region ; even  farther  south,  among  the  Kwakiutl 
and  the  northern  tribes  of  the  Coast  Salish,  who  have  no  animal 
totem  in  the  restricted  sense  of  this  term.  The  ideas  of  the  Kwakiutl 
regarding  these  matters  will  be  described  fully  later  on.  As  these 
legends  reveal  the  fundamental  views  the  natives  hold  in  regard  to 
their  totem,  I shall  give  abstracts  of  a few  of  them. 

The  following  is  a legend  of  the  Tsimshian: 

The  Bear  Clan. — An  Indian  went  mountain- goat  hunting.  When  he 
had  reached  a remote  mountain  range,  he  met  a black  bear,  who  took 
him  to  his  home,  taught  him  how  to  catch  salmon,  and  how  to  build 
canoes.  For  two  years  the  man  stayed  with  the  bear ; then  he  returned 
to  his  own  village.  The  people  were  afraid  of  him,  because  he  looked 
just  like  a bear.  One  man,  however,  caught  him  and  took  him  home. 
He  could  not  speak  and  could  not  eat  anything  but  raw  food.  Then 
they  rubbed  him  with  magic  herbs,  and  gradually  he  was  retransformed 
into  the  shape  of  a man.  After  this,  whenever  he  was  in  want,  he 
called  his  friend  the  bear,  who  came  to  assist  him.  In  winter  when 
the  rivers  were  frozen,  he  alone  was  able  to  catch  salmon.  He  built  a 
house  and  painted  the  bear  on  the  house  front.  His  sister  made  a 
dancing  blanket,  the  design  of  which  represented  a bear.  Therefore 
the  descendants  of  his  sisters  use  the  bear  for  their  crest. 

It  is  evident  that  legends  of  this  character  correspond  almost  exactly 
to  the  tales  of  the  acquisition  of  manitows  among  the  Eastern  Indians, 
and  they  are  evidence  that  the  totem  of  this  group  of  tribes  is,  in  the 
main,  the  hereditary  manitow  of  a family.  This  analogy  becomes  still 
clearer  when  we  consider  that  each  man  among  these  tribes  acquires  a 
guardian  spirit,  but  that  he  can  acquire  only  such  as  belong  to  his  clan. 
Thus,  a person  may  have  the  general  crest  of  his  clan  and,  besides,  use 
as  his  personal  crest  such  guardian  spirits  as  he  has  acquired.  This 
accounts  partly  for  the  great  multiplicity  of  combinations  of  crests 
which  we  observe  on  the  carvings  of  these  people. 


324 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


The  more  general  the  use  of  the  crest  in  the  whole  clan,  the  remoter 
the  time  to  which  the  clan  legend  is  ascribed.  In  many  cases  the  inci- 
dents are  considered  comparatively  recent,  and  are  then  confined  to  the 
descendan  ts  of  the  person  whom  the  legend  concerns.  The  extreme  case 
is  the  narrative  of  acquisition  of  one  of  the  crests  of  the  clan  by  a single 
person. 

These  ideas  necessitate  that  we  find  the  clans  or  phratries  subdivided 
and  that  there  exists  a multiplicity  of  crests  for  each  phratry.  As  an 
illustration  of  this  phenomenon,  I will  give  a list  of  the  crests  and  clans 
of  the  Stikine  tribe  of  the  Tlingit: 

Orests  of  the  raven  phratry:  Baven,  frog,  goose,  sea  lion,  owl,  salmon, 
beaver,  codfish,  skate. 

Orests  of  the  wolf  phratry:  Wolf,  bear,  eagle,  killer  whale,  shark, 
auk,  gull,  sparrow  hawk,  thunder  bird. 

The  phratries  of  the  Stikine  tribes  are  subdivided  as  follows: 

Families  of  the  raven  phratry : 

Qasx’ague'de.  Orest : Baven. 

K-iksVde.  Orest : Frog. 

QatcVde.  Orest : Baven. 

Tir  hit  tan  (=bark  house  clan).  Orest:  Beaver. 

DeLqoe'de  (= people  of  the  point).  Orest:  Raven. 

Qagan  hit  tan  (= sun  house  clan).  Crest:  Baven. 

xeLqoan.  Orest:  Beaver. 

Families  of  the  wolf  phratry : 

Nanaa/ri  or  siknaxVde  (corresponding  to  the  Kagonta/n  of  other 
Tlingit  tribes),  subdivided  as  follows: 

Hara/c  hit  tan  (=porch  house  clan). 

Tos  hit  tan  ( = shark  house  clan). 

Q’et  go  hit  tan. 

xuts  hit  tan  (=bear  house  clan). 

Xoqe'de.  Orest:  Killer  whale. 

The  list  is  probably  not  complete,  but  it  shows  the  character  of  these 
subdivisions.  Similar  subdivisions,  although  less  numerous,  are  found 
among  the  Tsimshian. 

The  crest  is  used  for  ornamenting  objects  belonging  to  a member  of 
the  clan;  they  are  carved  on  columns  intended  to  perpetuate  the  mem- 
ory of  a deceased  relative,  painted  on  the  house  front  or  carved  on  a 
column  which  is  placed  in  front  of  the  house,  and  are  also  shown  as 
masks  in  festivals  of  the  clan.  It  is  impossible  to  draw  a sharp  line 
between  the  pure  crest  and  figures  or  masks  illustrating  certain  inci- 
dents in  the  legendary  history  of  the  clan.  In  order  to  illustrate  this 
point,  which  is  of  great  importance  in  the  study  of  our  subject,  I will 
describe  a few  examples  observed  among  the  Msqa'  Indians. 

The  GbispawaduwE'da,  the  bear  clan  of  the  Xisqa',  use  a headdress 
representing  the  owl  (maskutgunu/ks)  (Plate  1),  surrounded  by  many 
small  human  heads  called  gyad  Em  Laqs  (claw  men).  This  is  worn  in 
potlaches,  and  commemorates  the  following  tradition : 

A chief  at  T’Emlax’a/mt  had  a son  who  was  crying  all  the  time.  His 
father  became  impatient  and  sent  him  out  of  the  house,  saying,  u The 


EXPLANATION  OF  PLATE  1. 

Nisqa  Headdress  representing  the  White  Owl. 

The  headdress  is  made  of  maple;  eyes.  tongue,  eye  ornament  on  wings,  and  orna- 
ment at  base  of  the  wing  feathers  inlaid  in  Haliotis  shell.  Wings  and  eyebrows  of 
owl,  and  eyebrows,  eyes,  and  noses  of  the  surrounding  men  painted  black;  margin 
of  beak  and  body  of  the  owl  except  knees  and  talons,  mouths,  arms,  and  legs  of 
the  surrounding  men,  and  the  broad  band  surrounding  the  owl’s  body  painted  red. 
inches  wide,  inches  high.  Collected  by  Franz  Boas. 

(g1,^  American  Museum  of  Natural  History,  New  York.) 


Report  of  U.  S.  National  Museum,  1895.— Boas. 


Plate  1. 


Nisqa'  Headdress  representing  the  White  Owl. 


THE  KWAKIUTL  INDIANS. 


325 


white  owl  shall  fetch  you.”  The  boy  went  out,  accompanied  by  his  sis- 
ter. Then  the  owl  came  and  carried  the  girl  to  the  top  of  a tree.  The 
people  heard  her  crying,  and  tried  to  take  her  down ; but  they  were 
unable  to  climb  the  tree.  After  a while  she  ceased  to  cry,  and  married 
the  owl.  They  had  a son.  When  he  grew  up,  she  told  her  husband 
that  she  desired  to  send  her  son  home.  Then  the  owl  made  a song  for 
him.  His  mother  told  him  to  carve  a headdress  in  the  shape  of  an 
owl  for  use  in  his  dance,  and  to  sing  the  song  which  his  father  had 
m ade  for  him.  She  bade  him  farewell,  telling  him  that  her  husband— the 
owl — was  about  to  carry  her  to  a far-off  country.  The  owl  carried  both 
of  them  to  the  old  chief’s  house.  When  the  wife  of  the  latter  saw  the 
unknown  boy,  she  was  afraid ; but  her  daughter  reassured  her,  and  told 
her  that  the  boy  was  her  grandson.  Then  the  old  woman  took  him  into 
her  house,  while  the  owl  and  the  boy’s  mother  disappeared.  When  the 
boy  was  grown  up,  his  mother’s  brother  gave  a festival,  and  before  pres- 
ents were  distributed  among  the  guests  the  boy  dakced,  wearing  the 
owl  headdress  and  singing  the  following  song  which  his  father  had  com- 
posed for  him : 

J . = 50. 

LEp  ha  ne  da  yu  wa  he 

• Drum.  X X | X ^ 


LEp  ha  ne  da  yu  wa  ha  e he  he 

* * S' I * / 1 * «N  * / 1 * S'  i 


h&  a ha  yi  a ha  e I ya! 

* s\  x S'  i * ;i  « s i * /I 


— ^ 

w 12  # # # 

* 1 

Lsp  ha  le  dat  qas  wa  g*iL  mas  k’uts  kugu  naks  i 

s /lx  /I  X /.|  X / I X / J 


a h4  e a ha  yi  & ha  e I ya. 


X S\  X S\  X /I*  /I  X /Is  /II 

I.  e.  O my  brother!  this  white  owl  has  given  me  this  tree  for  my  seat. 


* /l* 


yi 

l 


ya 

a 


326 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


When  the  G-itx-q’ado'q  branch  of  the  Qanha'da  have  a festival,  three 
masks  make  their  appearance,  one  of  which  has  a mustache  and  rep- 
resents  a young  man  named  G-itgoo'yim  (Plate  2 , upper  figure),  while 
the  other  two  are  called  Ca'ca,  (Plate  2,  lower  figures).  They  represent 
the  following  tradition : 

While  the  people  were  staying  at  the  fishing  village  Gulg-e'uL,  the 
boys,  under  the  leadership  of  a young  man  named  G-itgoo'yim,  made  a 
small  house  in  the  woods  behind  the  town.  They  took  a spring  salmon 
along  and  played  with  it  until  it  was  rotten.  They  caught  small  fish 
in  the  creek  and  split  and  dried  them.  They  made  small  drums  and 
began  to  sing  and  to  dance.  For  four  days  they  stayed  there,  dancing 
all  the  time.  Then  they  became  supernatural  beings.  G-itgoo'yim’s 
hair  had  turned  into  crystal  and  copper.  The  people  were  about  to 
move  to  another  camp  and  went  to  fetch  the  boys,  whom  they  heard 
singing: 


Hia  yi  a wu  la  yi  laxL  qe  cEmo  qa  wa 


Drum-  J J I J J J J I:  etc- 


wu  la,  yi  la  a axL  qe  sEl  dauL  uex  - noq. 


That  is : Where  the  copper  hair,  where  the  ice  hair  is  spread  out,  is 
the  supernatural  being. 

As  soon  as  the  people  approached  them  they  disappeared  and  were 
seen  at  once  dancing  and  singing  at  a distant  place.  The  people  were 
unable  to  reach  them.  Then  they  returned,  and  since  that  time  the 
G-itx-q’ado'q  have  used  the  song  and  dance  of  these  boys. 

As  an  example  of  the  use  of  the  crest,  viz.,  of  the  legend  of  the  clans 
in  the  erection  of  memorial  columns,  I will  give  the  following:  A man 
had  the  squid  for  his  protector.  After  his  death  his  son  gave  a festival, 
in  the  course  of  which  the  ground  opened  and  a huge  rock  which  was 
covered  with  kelp  came  up.  This  was  made  of  wood  and  of  bark.  A 
cave  was  under  the  rock  and  a large  squid  came  out  of  it.  It  was  made 
of  cedar  bark  and  its  arms  were  set  with  hooks  which  caught  the  blan- 
kets of  the  audience  and  tore  them.  The  song  of  the  squid  was  sung 
by  women  who  were  sitting  on  three  platforms  in  the  rear  of  the  house : 

Qagaba'xskE  laxha'  hayai,  qagaba'xskE  laxha'  hayai. 

It  shakes  the  heaven  h&y&i,  it  shakes  the  heaven  hay&i. 

NLqak-sL  qa'dik-sL  wl'  naxno'q  log-ig-a'dEL  ts’a'g-aL  ak-s 

For  the  first  time  comes  the  great  super-  in  living  inside  the  water 

natural  being 

dEm  in  lisa'yilL  am  g-ig-a't. 

to  look  at  the  people. 


EXPLANATION  OF  PLATE  2. 


Masks  of  the  Clan  Qanha'da. 

Fig.  1.  Gitgoo'yim.  Height,  9 inches;  lips  and  nose  red;  face  not  painted. 

(Cat.  No.  g1^,  American  Museum  of  Natural  History,  New  York.) 

Fig.  2.  Ca'ca.  Height,  7f  inches;  red,  blue,  and  black. 

(Cat.  No.  -g1^,  American  Museum  of  Natural  History,  New  York.) 

Fig.  3.  Ca'ca.  Height,  7f  inches;  black  and  red. 

(Cat.  No.  g^g,  American  Museum  of  Natural  History,  New  York.) 


Report  of  U.  S.  National  Museum,  1895. — Boas. 


Plate  2. 


Masks  of  the  Clan  Qanha'da,  Nisqa'. 


THE  KWAKIUTL  INDIANS. 


327 


After  the  squid  and  the  rock  had  disappeared  again,  a man  wearing 
the  sun  mask  appeared  in  the  door,  and  when  the  people  began  to  sing 
his  song,  a movable  sun  which  was  attached  to  the  mask  began  to  turn. 
The  sun  belongs  to  the  G-ispawaduwE'da;  the  squid  commemorates  the 
misfortunes  of  one  of  the  ancestors  of  the  deceased,  who,  when  hunting 
squids  at  ebb  tide,  was  captured  by  a huge  animal.  His  friends  tried 
to  liberate  him,  but  were  unable  to  do  so.  When  the  water  began  to 
rise,  they  pulled  a bag  of  sea-lion  guts  over  his  head,  hoping  that  the 
air  in  it  might  enable  him  to  survive,  but  when  they  looked  for  him  at 
the  next  tide  they  found  him  dead. 

After  the  festival  a memorial  column  was  erected.  It  represented, 
from  below  upward,  first  four  men  called  Lbayo'qs,  or  the  commanders. 
These  are  a crest  of  the  G-ispawaduwE'da.  Tradition  says  that  one 
night  some  men  for  some  purpose  dug  a hole  behind  a house  near  a 
grave  tree.  They  saw  an  opening  in  the  woods  and  a fire  in  the  middle 
of  it,  around  which  ghosts  were  dancing.  They  were  sitting  there  as 
though  they  were  in  a house,  but  the  men  saw  only  a pole  where  the 
door  of  the  house  would  have  been.  Four  men  called  Lbayo'qs  were 
standing  at  the  door,  and  called  to  them  nagwi't!  (to  this  side).  Since 
that  time  the  G-ispawaduwE'da  have  used  these  figures. 

On  top  of  the  four  men  was  the  sea  bear  (mEdl'ek  Em  ak-s)  with  three 
fins  on  its  back.  Each  flu  has  a human  face  at  its  base.  The  tradition 
of  the  sea  bear  tells  how  four  brothers  went  down  Skeen  a River  and 
were  taken  to  the  bottom  of  the  sea  by  Hagula/q,  a sea  monster,  over 
whose  house  they  had  anchored.  His  house  had  a number  of  platforms- 
Inside  were  the  killer  whales,  Hagula'q’s  men.  He  had  four  kettles 
called  Lukewarm,  Warm,  Hot,  Boiling,  and  a hat  in  the  shajm  of  a sea 
monster,  with  a number  of  rings  on  top.  The  name  of  his  house  was 
Helaha'idEq  (near  the  Haida  country).  He  gave  the  brothers  the  right 
to  use  all  these  objects  and  with  them  their  songs,  which  are  sung  at  all 
the  great  ceremonies  of  the  clan.  The  song  of  the  house  is  as  follows: 


Qo mila  ye  eq  - des  - ku  na  de 


qa  - a - mila  ye  des  ■ ku  - na  de  hela  - hai  - degi 


ye  deya  gd  e - mi  - el  - wi  hagu  - laq  aya  go. 
That  is : My  friend,  walk  close  to  the  country  of  the  Haida,  the  great 
Hagula/q, 


328 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


Hagula/q  also  gave  them  two  cradle  songs,  which  are  sung  for  the 
children  of  the  clan,  and  also  at  funerals : 

ALgwa'sEm  guna/t,  aLgwa'sEm  guna/t,  aLgwa'sEm  guna/t. 

O real  strong  friend,  0 real  strong  friend,  O real  strong  friend. 

MaaXLuwilwetkllL  Lgok-camxku  Lguts’alt  Lguyo'haq’ala/XyaSaba/t. 

Where  he  came  from  with  his  little  hlack  little  face  with  his  little  club  running 

down. 

And  the  other  one: 

Guna/det,  guna/det,  guna/det,  guna/det. 

O friend,  O friend,  O friend,  O friend. 

Wulnixmd'oLe,  sEuiLia/n,  hanxsa/no,  hangm'oksgo. 

They  are  very  white  the  real  elks,  which  he  won  which  he  found  when 
gambling  they  drifted  down 
to  him. 


II.  The  Social  Organization  of  the  Kwakiutl. 

The  Kwakiutl  are  divided  into  a great  many  tribes,  which  are  in 
their  turn  subdivided  into  septs  and  clans.  Each  clan  of  the  Kwakiutl 
proper  derives  its  origin  from  a mythical  ancestor  who  descended  from 
heaven,  arose  from  the  under  world,  or  emerged  from  out  of  the  ocean. 
Their  crests  and  privileges,  which  will  be  discussed  later  on,  are  based 
upon  the  adventures  of  their  ancestors,  from  whom  they  are  supposed 
to  have  descended. 

First  of  all,  I will  give  a list  of  the  tribes  and  their  subdivisions: 

A.  XA-ISLA'  DIALECT. 

1.  Xa-islaC 

Clans:  Beaver,  eagle,  wolf,  salmon,  raven,  killer  whale. 

2.  Xana/ks’iala,  called  by  the  He'iltsuq  GUmanoitx. 

B.  HETLTSUQ  DIALECT. 

1.  Xa'exaes.  Chinaman  hat. 

2.  He'iltsuq.  Bellabella. 

Septs:  a.  Q’o'qa-itx.  \ r 1.  WTk’oxtenox,  eagle. 

b.  Oe'Litx.  > Clans:  / 2.  Q’oe'tenox,  raven. 

c.  O'ealitx.  ) (3.  HaTx7aix*tenox,  killer  whale. 

3.  So'mexulitx.  Upper  end  of  Awl'k^endx  Lake. 

Clans:  1.  Sohnexulitx. 

2.  Ts’e'okuimiX  or  Ts’e'uitx. 

4.  No'xuntshtx.  Lower  end  of  AwTk-’enox  Lake. 

5.  AwTk-’enox.  Fivers  Inlet. 

Clans:  1.  QoUk^axtenox,  whale. 

2.  G-Tg-ilqain. 

3.  Wao'kuitEm. 

4.  Wa/wik-em. 

5.  Gue'tEla. 

6.  Xa/lekuitx. 


THE  KWAKIUTL  INDIANS. 


329 


C.  KWAKIUTL  DIALECT. 

a.  Koskimo  Subdialect. 

1.  L’a/sq’enox  (=people  of  the  ocean.)  Klaskino  Inlet. 

Claus:  1.  Pe^awiLenox  (=the  flyers). 

2.  T’e't’aneLenox. 

3.  O'manits’enox  (=the  people  of  O'manis,  a place  on 

Klaskino  Inlet). 

2.  Gua'ts’enox  ( = people  of  the  North  country).  Northern  side  of 

entrance  to  Quatsino  Sound. 

Clans:  1.  Xamanao. 

2.  Gua'ts’endx. 

3.  Gm'p’enox.  Entrance  of  Quatsino  Sound. 

Clans:  1.  G-o'p’enox. 

2.  Q’o'Lenox. 

4.  Qo'sqemox.  Koskimo. 

Clans:  1.  G'e'xsEm  (=  chiefs). 

2.  Nae'nsx-a  ( = dirty  teeth). 

3.  G-e'xsEms’anaL  (=  highest  chiefs). 

4.  Tse/tsaa. 

5.  Woxua'mis. 

6.  G-eq’oflEqoa. 

7.  KwakuqEmaFenox. 

b.  Newettee  Subdialect. 

1.  Naqohng’ilisala  (=always  staying  in  their  country).  Cape  Scott. 

Clans:  1.  G-e'xsEm  (=  chiefs). 

2.  Nae/nsx*a  (=  dirty  teeth). 

2.  La'Lasiqoala  ( = those  on  the  ocean).  Newettee. 

Clans:  1.  G-Ug-Uqam  ( = those  who  receive  first). 

2.  LadauiLEla  (=  always  crossing  the  sea). 

3.  G'e'xsEm  (=  chiefs). 

c.  Kwakiutl  Subdialect. 

The  tribes  speaking  this  dialect  call  themselves  Kwa/lmak*ewaku. 
Slight  variations  of  dialect  are  found  among  the  different  tribes  of  this 
"roup. 

1.  Goasi'la  (= north  people).  Smith  Inlet. 

Clans:  1.  Gd'g-ilqain  (=those  who  receive  first). 

2.  Si'sinLae  (=the  Si'nLaes). 

3.  Q’b'mkmtis  (=the  rich  side). 

2.  Na/q’oaqtoq.  Seymour  Inlet. 

Clans:  1.  G-e'xsEm  (= chiefs). 

2.  Si'sinLae  (=tlie  Si'nLaes). 

3.  Tsitsime'lEqala  (=the  Tsime'lEqalas). 

4.  Wa'las  ( = the  great  ones). 


330  REPORT  OF  NATIONAL  MUSEUM,  1895. 

2.  Na/q’oaqtoq.  Seymour  Inlet — Continued. 

Clans:  5.  TE'mLtEmLEls  (=those  under  whom  the  ground 
shakes). 

6.  Kwa/kok'UL  (=the  Kwakiutl). 

3.  Kwakiutl  (=smoke  of  the  world1 * *).  Fort  Rupert,  Tumour  Island, 

Call  Creek.  This  tribe  consists  of  four  septs. 

3a.  Gue'tEla  (=northern  people)  or  Kue'xamut  (=fellows  of  the 
Kue'xa). 

Clans:  1.  Maa'mtag-ila  (=the  Ma'tag-ilas). 

2.  Kukwa/kum  (=  the  real  Kwakiutl). 

3.  G-e'xsEm  (=chiefs). 

4.  La/alaxsEnt7aio  (=the  La/laxsEnt’aios). 

5.  SUsmuae  (=the  Si'nLaes). 

3b.  Q’o'moyue  (the  rich  ones).  War  name:  Kue/xa  (the  murderers). 
Clans:  1.  Kukwa/kum  (=the  real  Kwakiutl). 

2.  Ha/anaLenox  (=the  archers). 

3.  Yaakx-aqEmae  ( = the  crabs). 

4.  HaaiTak'Emae  (=the  shamans)  or  La/xse  (going 

through). 

5.  G’Ugulqam  (= those  who  receive  first). 

3c.  QWmkMitis  (=the  rich  side). 

3d.  WaTas  Kwakiutl  (= the  great  Kwakiutl).  Mckname:  La/kuilila 
(=the  tramps). 

Clans:  1.  Ts’E'nts’EDX-qaio  (=.the  Ts’E'nx'qaios). 

2.  G'e'xsEin  (=chiefs). 

3.  Wa'ulipoe  (=those  who  are  feared). 

4.  Le'q’Ein. 

5.  Le'Lqete  (=having  a great  name). 

4.  Ma'maleleqala  (=MaTeleqala  people).  Tillage  Island. 

Clans:  1.  TE'mLtEinLEls  (= those  under  whom  the  ground 
shakes). 

2.  We'wamasqEin  (=the  noble  ones'?). 

3.  Wa'las  (=the  great  ones). 

4.  Ma'maleleqam  (=the  Ma/leleqalas). 

5.  Qoe'xsot’enox  (=people  of  the  other  side).  Gilford  Island. 

Clans:  1.  Kaxna/xula  (= rising  above  other  tribes?). 

2.  Me'mogguns  (=having  salmon  traps). 

3.  Gu'gilqam  (=those  who  receive  first). 

4.  IJe'nelpae  (=those  on  the  upper  end  of  the  river). 

6.  Laufitsis  (=angry  people).  Cracroft  Island 

Clans:  1.  Si'sinLae  (=the  SinLaes) 

2.  KiUnEmasEqalis  (=old  from  the  beginning). 

3.  LetLqet  (=having  a great  name). 

4.  G'l'gdlqam  (= those  who  receive  first). 

1 This  is  the  etymology  given  hy  the  Kwakiutl  themselves,  from  goax'i'la,  smoke. 

It  seems  to  me  that  the  derivation  from  Guak-fvtis  — beach  at  north  side  of  river, 

from  gua— • north,  — k*ut= opposite,  — is=heach,  is  more  likely. 


THE  KWAKIUTL  INDIANS. 


331 


7.  XE'mqic.  Nimkish  River. 

Clans:  1.  TsetseEoa/laqEinae  ( = the  famous  ones). 

2.  EaLEla/min  (=the  supporters). 

3.  GVg-ilqam  ( = those  who  receive  first). 

4.  Si'sinLae  (=the  Si'nLaes). 

5.  Ne'nelk-’endx  (=people  from  the  head  waters  of  the 

river). 

8.  T’Ena'xtax.  Knight  Inlet. 

Clans:  1.  xya'm^famtElaL  (=the  x)VmtElaLs). 

2.  G'e'xsEm  (=the  chiefs). 

3.  Qoe'qoaainox  (=people  from  the  river  Qoa'is). 

4.  Yaakx-aqEmaE  ( = the  crabs). 

5.  P’e'paLenox  (=the  fliers). 

9.  A'wa-iLala  ( = those  inside  the  inlet).  Knight  Inlet. 

Clans:  1.  GVg’ilqam  (=  those  who  receive  first). 

2.  Ts’o'ts’ena  (= thunder  birds). 

3.  K*ek*k'7enox. 

10.  Ts’a/watEenox  (=people  of  the  oulachon  country).  Kingcombe 

Inlet. 

Clans:  1.  LedEwagdla  (=the  heaven  makers — mythical  name  of 
raven). 

2.  G-fg-EqEmae  (=chiefs). 

3.  Wl'oqEmae  (=whom  no  one  dares  to  look  at). 

4.  G’ag’g'ilak-a  (^always  wanting  to  kill  people). 

5.  Qa/’qawatilik’a  (=the  Qa'watiliqalas). 

11.  Guau'aenox.  Drury  Inlet. 

Clans:  1.  GVgdlqam  ( = those  to  whom  is  given  first). 

2.  KwTkoaenox  (=those  at  the  lower  end  of  the  village). 

3.  Kwa/kowenox. 

12.  Haxua/mis.  Wakeman  Sound. 

Clans:  1.  GVgdlq am  (=those  who  receive  first). 

2.  G’e'xsEm  (=the  chiefs). 

3.  Haakalik-auae  (=the  shamans). 

13.  Le/kwiltoq.  From  Knight  Inlet  to  Bute  Inlet  and  on  the  opposite 

part  of  Vancouver  Island.  They  consist  of  the  following  septs: 
13a.  Wl'weqae  (=the  We'qaes). 

Clans:  1.  GVgdlqam  (=those  who  receive  first). 

2.  G’e'xsEm  (=the  chiefs). 

3.  % 

4.  Wl'weaqam  ( = the  We'qaes). 

13b.  Xa/xamatsEs  (=old  mats,  so  called  because  slaves  of  the 
Wi'weqae).  Recently  they  have  taken  the  name  of  Wa/litsum 
(=the  great  ones). 

Clans:  1 

13c.  Kue'xa  (=the  murderers). 

Clans:  1.  WTweaqam  (=the  We'qaes). 

2.  QVmoyue  (the  rich  oues). 

3.  Kue'xa  (=the  murderers). 


332 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


13d.  Laaluis. 

13  e.  Q’o'm’enox. 

This  list  is  not  quite  complete,  but  very  nearly  so/  A number  of  the 
clans  are  subdivided  into  smaller  groups,  but  it  is  very  difficult  to 
ascertain  these  subdivisions.  Thus  the  XaqoTng-ilisala  embrace  a sub- 
division called  Me'Emaqaua,  who  are,  however,  not  considered  a separate 
clan.  The  La/la-uiLEla  of  the  LaAasiqoala  are  divided  into  two  divi- 
sions— the  G*7eg*’o/te,  the  descendants  of  G-’o'te,  and  the  Ha/heqolaL, 
the  descendants  of  Ha'qolaL.  The  La/alaxsEnt’aio  of  the  Kwakiutl 
proper  consist  of  three  divisions:  The  La/alaxsEnt’aio  proper,  the 
ATkhmweE  (=lower  corner,  speakers  of  the  first  division),  and  the 
He'ha’me'tawe,  the  descendants  of  Ha’me'tawe.  The  Ts’E'nts’Enx-qaio 
of  the  Wa/las  Kwakiutl  are  divided  in  two  divisions — the  Ts’E'nq’am 
and  Hakinaaxsto.  These  divisions  are  given  merely  as  examples,  as  I 
have  not  been  able  to  discover  all  the  subdivisions  of  the  different 
clans  and  tribes. 

The  recent  history  of  these  tribes  and  clans  explains  the  develop- 
ment of  this  exceedingly  complex  social  system.  Historical  tradition 
has  it  that  the  Gue'tEla  and  the  Q’o'moyue,  both  septs  of  the  Kwakiutl, 
not  very  long  ago  formed  one  tribe.  At  one  time  a quarrel  arose 
between  them,  in  which  La/qoagdla,  the  head  chief  of  the  Gue'tEla, 
w.as  killed.  Then  they  divided,  and  since  that  time  form  two  septs. 
There  is  a saying  indicating  the  close  relationship  of  the  two,  to  the 
effect  that  the  Gue'tEla  and  the  Q’o'moyue  are  twins — the  former  suckled 
at  the  mother’s  right  breast,  the  latter  at  the  left. 

Still  another  tribe,  which,  however,  I have  not  included  in  the  above 
list  on  account  of  its  recent  origin,  has  branched  off  from  the  Kwakiutl. 
These  people  call  themselves  Ma/tilpe,  i.  e.,  the  highest  Maa'mtag-ila, 
and  include  the  septs  Maa'mtag-ila,  G’AxsEm,  and  HaaiTak’Emae,  all 
of  which  are  found  among  the  Gue/tEla  and  Q’b'moyue. 

While  in  these  two  cases  new  tribes  were  formed  by  a process  of 
division,  in  one  other  case,  at  least,  a tribe  has  recently  become  a clan 
of  another  tribe,  namely,  the  Laaluis  of  the  Le'kwiltoq,  who  have 
joined  the  Kue'xa  of  the  same  group  and  form  a fourth  clan  of  the 
latter.  The  event  happened  during  the  great  war  with  the  southern 
Salishan  tribes,  which  was  waged  iii  the  middle  of  this  century,  the 
cause  of  the  amalgamation  being  the  great  reduction  of  the  tribe. 
The  Q’o'm’enox  have  become  entirely  extinct.  Another  tribe  which 
lived  near  the  Qo'sqemox,  of  which,  however,  we  have  only  traditional 
reports,  the  Xoya/les,  have  been  exterminated  by  the  Qo'sqemox. 

These  few  authentic  facts  show  that  the  numbers  of  tribes  and  of 
clans  have  undergone  considerable  changes  during  historical  times. 
This  conclusion  is  corroborated  by  the  distribution  of  clans  among 
various  tribes,  and  by  the  meaning  of  their  names.  We  may  distinguish 
three  classes  of  tribal  names  and  of  clan  names,  viz,  such  as  are 
collective  forms  of  the  name  of  the  ancestor,  names  taken  from  the 


THE  KWAKIUTL  INDIANS. 


333 


region  inhabited  by  the  tribe  or  clan,  and  names  of  honor.  There  is  a 
decided  tendency  to  substitute  names  of  the  last  class  for  others. 
Thus  the  name  Q’o'moyue  (the  rich  ones)  is  new.  The  Xa/xamatsEs 
took  the  name  Wa/litsum  (the  great  ones)  only  twenty-live  or  thirty 
years  ago.  I presume  that  the  names  Gu'gdlqam  (those  who  receive 
first),  G^e'xsEm  (chiefs),  TE'mLtEmLEls  (those  under  whom  the  ground 
shakes),  were  adopted  in  a similar  way.  Other  changes  of  names 
occur.  Thus  the  Nimkisli  call  themselves  recently  Lao'koatx,  which 
is  the  name  of  one  of  the  tribes  of  the  west  coast  of  Vancouver  Island, 
and  the  Laufitsis  are  adopting  the  name  Ts?a/mac,  which  is  the  name 
of  the  Songish  in  the  Comox  dialect. 

The  geographical  names  are  more  suggestive.  We  find  among  the 
Monkish  a clan  called  NeTielk-’enox,  the  people  from  the  head  waters  of 
Nimkish  Eiver.  This  would  seem  to  indicate  that  the  head  waters  of 
the  river  was  their  ancient  home,  and  that  they  have  joined  the  rest 
of  the  Nimkish.  The  same  may  be  said  of  the  O'manits’enox  clan  of 
the  LWsq’endx,  the  Qoe'qoaainox  of  the  T’Ena'xtax,  and  the  Ne/nelpae 
of  the  Qoe'xsotfenox. 

In  all  cases  where  the  clan  name  or  the  tribal  name  is  a collective 
form  of  the  name  of  the  ancestor,  we  may  assume  that  the  group 
formed  at  one  time  a single  community.  How  this  unit  maybe  broken 
appears,  in  the  case  of  the  Ma'tilpe.  We  observe  that  quite  a number 
of  such  clan  names  are  common  to  several  tribes.  Thus  the  Sl'sinLae, 
the  descendants  of  SknLae,  are  found  among  the  Goasi'la,  Na/q?oaqtoq, 
Gue'tEla,  Laufitsis,  and  Nimkish.  The  Yaakx-aqEmae,  the  descend- 
ants of  Yix’a/qEmae,  are  found  among  the  QWmoyue  and  T’Eua'xtax. 
I believe  that  in  all  these  cases  part  of  the  original  clan  has  drifted 
away  from  its  original  home,  keeping  its  old  name.  This  view  is  sus- 
tained by  the  tradition  that  the  clans  were  divided  at  the  time  of  the 
great  flood,  one  part  drifting  here,  another  there. 

Still  another  case  that  gives  evidence  of  the  gradual  development  of 
the  present  system  of  clans  and  tribes  is  furnished  by  the  Ma/malele- 
qala  and  Wi'weqae.  Both  these  names  are  the  collective  forms  of  the 
names  of  the  ancestors.  Nevertheless  the  Ma'maleleqain  and  Wl'wea- 
qam,  the  Ma/leleqala  group,  and  the  We'qae  group  appear  as  subdi- 
visions of  these  tribes.  It  seems  to  me  that  this  proves  that  these 
subdivisions  must  have  formed  the  original  stock,  which  the  other  clans 
joined  in  course  of  time. 

All  this  evidence  proves  that  the  present  system  of  tribes  and  clans 
is  of  recent  growth  and  has  undergone  considerable  changes. 

The  traditions  of  the  clans  show  clearly  what  we  must  consider  the 
original  unit  of  society  among  the  Kwakiutl.  Each  clan  derives  its 
origin  from  a mythical  ancestor,  who  built  his  house  at  a certain  place 
aud  whose  descendants  lived  at  that  place.  In  a great  many  cases  these 
places  prove  to  be  old  village  sites.  In  some,  large  accumulations  of 
shells  are  found,  which  show  that  they  have  been  inhabited  through 


334 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


long  periods.  We  conclude,  therefore,  that  the  clan  was  originally  a 
village  community,  which,  owing  to  changes  in  number  or  for  pur- 
poses of  defense,  left  their  old  home  and  joined  some  other  community, 
retaining,  however,  to  a certain  degree  its  independence.  This  corre- 
sponds exactly  to  the  social  organization  of  the  Salishan  tribes  of  the 
southern  portion  of  Vancouver  Island,  and  of  all  the  coast  tribes  of 
Washington  and  Oregon.  The  simple  division  into  village  communi- 
ties which  seems  to  have  been  the  prevalent  type  of  society  along  a 
considerable  portion  of  the  Pacific  Coast  has,  among  the  Kwakiutl, 
undergone  such  changes  that  a number  of  tribes  which  are  divided 
into  clans  have  originated. 

While  it  would  be  natural  that  in  the  former  stage  the  child  should 
be  considered  a member  of  the  village  community  to  which  his  father  or 
mother  belonged,  we  may  expect  disturbances  in  the  organization  which 
developed  among  the  Kwakiutl.  Among  the  village  communities  of 
Oregon,  Washington,  and  southern  Vancouver  Island  the  child  belongs 
to  the  father’s  village,  where  the  married  couple  generally  live,  and  it 
seems  that  among  many  of  these  tribes  the  villages  are  exogam ic. 
Among  the  Kwakiutl  the  clans  are  also  exogamic,  and  certain  privi- 
leges are  inherited  in  the  paternal  line,  while  a much  larger  number 
are  obtained  by  marriage.  The  existence  of  the  former  class  suggests 
that  the  organization  must  have  been  at  one  time  a purely  paternal 
one.  Three  causes  seem  to  have  disturbed  the  original  organization — 
the  development  of  the  more  complex  organization  mentioned  above, 
the  influence  of  the  northern  tribes  which  have  a purely  maternal 
organization,  and  the  development  of  legends  referring  to  the  origin  of 
the  clans  which  are  analogous  to  similar  traditions  of  the  northern 
groups  of  tribes.  Taking  up  the  last-named  point  first,  we  find  that 
each  clan  claims  a certain  rank  and  certain  privileges  which  are  based 
upon  the  descent  and  adventures  of  its  ancestor.  These  privileges,  if 
originally  belonging  to  a tribe  which  at  one  time  has  been  on  the  paternal 
stage,  would  hardly  have  a tendency  to  deviate  from  the  law  govern- 
ing this  stage.  If  they  have,  however,  originated  under  the  influence 
of  a people  which  is  on  a maternal  stage,  an  abnormal  development  seems 
likely.  In  the  north  a woman’s  rank  and  privileges  always  descend 
upon  her  children.  Practically  the  same  result  has  been  brought  about 
among  the  Kwakiutl,  but  in  a manner  which  suggests  that  a people 
with  paternal  institutions  has  adapted  its  social  laws  to  these  customs. 
Here  the  woman  brings  as  a dower  her  father’s  position  and  privileges 
to  her  husband,  who,  however,  is  not  allowed  to  use  them  himself,  but 
acquires  them  for  the  use  of  his  son.  As  the  woman’s  father,  on  his 
part,  has  acquired  his  privileges  in  the  same  manner  through  his  mother, 
a purely  female  law  of  descent  is  secured,  although  only  through  the 
medium  of  the  husband.  It  seems  to  my  mind  that  this  exceedingly 
intricate  law,  which  will  be  described  in  detail  in  the  course  of  this 
paper,  can  not  be  explained  in  any  other  way  than  as  an  adaptation  of 


THE  KWAKIUTL  INDIANS. 


335 


maternal  laws  by  a tribe  which  was  on  a paternal  stage.  1 can  not 
imagine  that  it  is  a transition  of  a maternal  society  to  a paternal  soci- 
ety, because  there  are  no  relics  of  the  former  stage  beyond  those  which 
we  find  everywhere,  and  which  do  not  prove  that  the  transition  has 
been  recent  at  all.  There  is  no  trace  left  of  an  inheritance  from  the 
wife’s  brothers;  the  young  couple  do  not  live  with  the  wife’s  parents. 
But  the  most  important  argument  is  that  the  customs  can  not  have 
been  prevalent  in  the  village  communities  from  which  the  present 
tribal  system  originated,  as  in  these  the  tribe  is  always  designated  as 
the  direct  descendants  of  the  mythical  ancestor.  If  the  village  com- 
munities had  been  on  the  maternal  stage,  the  tribes  would  have  been 
designated  as  the  descendants  of  the  ancestor’s  sisters,  as  is  always 
the  case  in  the  legends  of  the  northern  tribes. 

Names  and  all  the  privileges  connected  with  them  may  be  obtained, 
also,  by  killing  the  owner  of  the  name,  either  in  war  or  by  murder. 
The  slayer  has  then  the  right  to  put  his  own  successor  in  the  place 
of  his  killed  enemy.  In  this  manner  names  and  customs  have  often 
spread  from  tribe  to  tribe. 

It  remains  to  substantiate  what  I have  said  by  telling  the  legends  of 
a few  clans.  I shall  give  a fuller  account  of  these  legends  later  on, 
while  at  this  place  I will  merely  refer  to  such  passages  as  are  of  impor- 
tance in  our  present  consideration.  The  clan  O'manits’endx  of  the 
L’a/sq’endx  derive  their  origin  from  Ts’FlqoaloLEla,  the  husband  of 
L’e'sElaqa  ( = Sun  woman).  The  former  came  down  from  heaven  while 
his  wife  stayed  there  because  she  had  to  attend  to  the  moving  sun. 
He  was  accompanied  by  his  children  Se'paxaes  (= Shining  down), 
Ya/q’Ent’Emae  (=First  speaker),  G^e'xdEn,  and  Da/doqanaqesEla 
( = Seeing  from  one  corner  to  the  other).  From  these  the  clan  origi- 
nated (Appendix  p.  665). 

The  following  genealogy  of  the  clan  La/la-uiLEla  of  the  La'Lasiqoala 
is  a still  better  example : 

NomasE'nxelis  (descended  from  heaven). 

LExx'alix'ila’yu^  E'k’auayuqoa  $ Lo'LEmaqa^ 

Omalixste^  Wa'lixona  or  Tse'sElaso^1  Lasoti/ walls  $ 

Walas  NEmo'gwis^  (Pa'lqamistal  $ Ha/taqa  9 

TsEpa/x'ioala  $ , Ya/nEmq’ana  $ , T’koa/yu  $ , Ale'xoatus. 

A great  number  of  examples  of  this  kind  might  be  given.  It  is  true 
that  these  traditions  are  probably  not  very  old,  and  have  been  modified 
with  the  changing  social  life  of  the  people;  but  from  what  we  know  of 
the  development  of  myths  we  should  expect  to  find  in  them  traces,  at 
least,  of  the  old  maternal  institutions,  if  they  had  ever  existed.  The 
fact  that  they  invariably  and  always  are  explained  by  genealogies,  such 
as  the  above,  seems  to  my  mind  conclusive  proof  that  a paternal 
organization  of  the  tribe  preceded  the  present  one. 


336 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


I referred  several  times  above  to  tlie  fact  that  the  clans  have  certain 
rights  in  which  the  others  do  not  share.  These  are  mainly  the  use  of 
certain  crests  and  of  semi-religious  performances.  All  of  these  are 
acquired  by  marriage,  as  described  above.  In  the  village  communities 
of  the  southern  tribes  we  find  no  trace  of  a crest,  while  among  the 
Kwakiutl  it  is  not  strictly  hereditary,  but  descends  through  marriage 
in  the  female  line,  in  a similar  way  as  the  crest  of  the  northern  tribes 
descends.  The  legends  of  the  acquisition  of  the  crest  are  also  similar 
to  the  northern  legends  on  the  same  subject,  and  I conclude,  therefore, 
that  the  present  stage  has  developed  through  contact  of  these  two  cul- 
tural areas.  I do  not  mean  to  say  that  the  ideas  have  been  bodily  bor- 
rowed by  the  Kwakiutl,  but  that  their  manifestation  in  the  social 
organization  of  the  tribe  is  largely  due  to  suggestion  on  the  part  of  the 
northern  tribes.  The  American  idea  of  the  acquisition  of  the  manitou 
was  evidently  also  fundamental  among  the  Kwakiutl,  as  all  their  tales 
refer  to  it,  and,  as  we  shall  see  later  on,  the  whole  winter  ceremonial  is 
based  on  it.  But  it  has  assumed  a peculiar  form  in  so  far  as  the  manitou 
was  acquired  by  a mythical  ancestor  and  is  now  handed  down  from  gen- 
eration to  generation,  and  the  connection  has  in  many  cases  become  so 
slight  that  the  tutelary  genius  of  the  clan  has  degenerated  into  a crest. 
This  degeneration,  together  with  the  descent  through  marriage,  I take 
to  be  due  to  the  infiuence  of  the  northern  totemism. 

I give  a few  stories  illustrating  the  acquisition  of  the  crest  through 
the  ancestor,  which  will  bring  out  the  close  analogy  with  the  acquisi- 
tion of  the  manitou,  and  also  show  the  manner  in  which  the  crest  is 
used  for  adorning  persons  and  utensils. 

The  legend  of  the  O'manits’enox,  which  I quoted  above  (Appendix, 
p.665),  goes  on  to  tell  how  Oe'xdEn  fell  in  with  a number  of  killer  whales, 
which  had  assumed  the  shape  of  men,  and  were  mending  their  canoes. 
Their  chief  gave  him  the  quartz-pointed  whaling  harpoon,  his  names, 
and  the  right  to  use  the  painting  of  the  killer  whale  on  his  house  front. 

Another  good  example  is  the  following  tradition  of  the  clan  La'xse  of 
the  Q’o'moyue  or  Kue'xa.  I give  here  a translation : 

The  first  Kue'xa  lived  at  Tsa/Xoyo.  Their  chief,  YeTqoLalasame, 
went  bear  hunting  up  the  river  of  LiXsPwe  until  he  came  to  Sa/x-sox*. 
After  he  had  been  away  four  days,  he  saw  the  Ho'Xhoq  (a  fabulous 
bird,  supposed  to  be  similar  to  the  crane)  and  heard  its  cry.  It  was 
larger  than  a man.  Then  Ye'iqoLalasame  hid.  The  Ho'Xhoq  tried  to 
find  him,  and  finally  discovered  the  place  where  the  chief  was  in  hiding 
at  one  side  of  a cedar  tree.  It  tried  to  peck  him  with  its  beak,  but 
missed  him.  YeTqoLalasame  merely  jumped  to  the  other  side  of  the 
tree,  and  the  Ho'Xhoq  could  not  kill  him.  He  came  home  at  night. 
Then  he  carved  the  crane  out  of  yellow  cedar,  and  now  it  is  the 
carving  of  his  clan  (Plate  3).  He  invited  all  the  tribes,  and  gave  away 
cedar-bark  blankets,  all  kinds  of  skins,  canoes,  and  slaves.  Then  he 
placed  the  image  of  the  Ho'Xhoq  on  top  of  a pole  outside  of  his  house. 


Report  of  U.  S National  Museum,  1895. — Boas. 


Plate  3. 


gVs,  American  Museum  of  Natural  History,  New  York.  Collected  by  F.  Boas. 


THE  KWAKIUTL  INDIANS. 


337 


Later  on,  a chief  of  the  Qoe'xsotfenox  wanted  to  have  the  carved 
Ho'Xhoq.  His  name  was  LEkmma/xot.  He  tried  to  find  out  how  to 
obtain  it,  and  learned  that  he  had  to  marry  the  daughter  of  Ye'iqo- 
Lalasame  in  order  to  obtain  it.  Then  he  engaged  himself  to  marry 
Ma/xalayuqoa,  that  chiefs  daughter.  Y e'iqoLalasame  agreed,  and  they 
were  married.  Still  later  XEqa/p’Enk’Em,  chief  of  the  E^kwa/kum  of 
the  Gue'tEla,  obtained  the  Ho'Xhoq  from  the  Qoe'xsot’enox  by  mar- 
riage. 

The  first  part  of  this  legend  shows  again  the  close  analogy  to  the 
acquisition  of  the  manitou;  the  end  shows  how  the  privilege  of  using 
the  carving  was  acquired,  first  by  one  tribe,  then  by  the  other. 

It  is  not  necessary  to  multiply  these  examples.  There  exists,  how- 
ever, another  class  of  traditions,  according  to  which  the  crests  or 
emblems  of  the  clan  are  not  acquired  in  this  manner,  but  brought 
down  by  the  ancestor  of  the  clan  from  heaven  or  from  the  underworld 
or  out  of  the  ocean,  wherever  he  may  have  derived  his  origin.  This  is 
the  case  with  the  SfsinLae,  whose  emblem  is  the  sun  (fig.  1).  Here 
also  belong  the  numerous  tales  of  ancestors  who  came  down  from 
heaven,  took  off  their  masks,  and  became  men,  for  in  all  these  cases 
the  mask  has  remained  the  crest  of  the  clan.  To  this  class  belong  the 
traditions  of  the  GYg-ilqam  of  the  Q’o'moyue,  of  the  Ts’E'nts’Enx'qaip, 
and  many  others. 

There  is  still  another  class  of  privileges  connected  with  these  tradi- 
tions, to  which,  however,  I will  only  briefly  refer  at  this  place,  as  I have 
to  treat  them  more  fully  later  on.  I mean  the  membership  in  secret 
societies.  Many  ancestors,  when  obtaining  their  manitous,  were  given 
the  right  to  perform  certain  dances,  or  they  were  given  secret  songs,  or 
the  power  to  eat  human  flesh.  These  rights  have  also  become  hereditary, 
but  they  differ  from  the  crest  in  so  far  as  the  character  of  the  initiating 
spirit  (the  manitou)  has  been  more  clearly  preserved.  Each  individual, 
who  by  descent  or  marriage  is  entitled  to  membership  in  one  of  the 
secret  societies,  must  nevertheless,  be  initiated  by  its  presiding  spirit 
before  joining  the  society. 

In  all  festivals  references  to  these  traditions  are  very  frequent,  and  it 
is  quite  necessary  to  be  acquainted  with  them  in  order  to  understand 
the  proceedings  and  speeches,  as  will  appear  in  the  further  progress  of 
this  description. 

Summing  up  the  preceding  considerations,  we  may  say  that  the 
Kwakiutl  consisted  in  olden  times  of  a series  of  village  communities 
among  which  descent  was  counted  in  the  paternal  line,  and  the  mem- 
bers of  each  community  were  considered  descendants  of  one  ancestor. 
These  communities  combined  in  groups,  but  the  composing  elements  of 
the  groups  kept  a certain  degree  of  independence  and  continued  to  be 
considered  as  relatives.  Each  clan,  as  we  may  call  the  composing  ele- 
ments of  the  tribe,  developed  a clan  tradition,  which  was  founded  upon 
the  acquisition  of  a manitou  by  the  mythical  ancestor,  the  manitou 
NAT  MUS  95 22 


338 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


Eig.  1. 

POST  OF  CLAY  Sl'siNLAE  OF  THE  NIMKISH 
AT  ALERT  BAY. 

(a)  The  post  represents  the  sun  surmount- 
ing the  speaker  of  the  clan.  The  upper 
part  is  carved  in  the  shape  of  two  cop- 
pers,1 the  lower  one  being  painted  with 
the  design  of  a hear.  The  lower  portion  of 
the  pole  has  a rectangular  cross-section, 
and  is  painted  with  figures  representing 
coppers. 

( b ) Side  view  of  suu  mask  on  top  of  pole. 

From  a sketch  made  by  (he  author,  December,  1886. 


becoming  hereditary  in  the  clan.  Owing 
to  the  influence  of  the  northern  tribes, 
this  manitou  became  attenuated  to  a 
crest,  which,  in  consequence  of  the 
same  influence,  no  longer  descends  in  the 
male  line,  but  may  be  given  in  mar- 
riage, so  that  it  descends  upon  the  daugh- 
ter’s children. 

So  far  we  have 
considered  the 
clan  as  a unit. 
The  individu- 
als composing 
the  clan  do  not 
form,  however, 
a homogeneous 
mass,  but  differ 
in  rank.  All 
the  tribes  of  the  Pacific  Coast  are  divid- 
ed into  a nobility,  common  people,  and 
slaves.  The  last  of  these  may  be  left 
out  of  consideration,  as  they  do  not 
form  part  and  parcel  of  the  clan,  but 
are  captives  made  in  war,  or  purchases, 
and  may  change  ownership  as  any 
other  piece  of  property.  The  clan  of  the 
Kwakiutl  is  so  organized  that  a certain 
limited  number  of  families  are  recog- 
nized. The  ancestor  of  each  of  these 
families  has  a tradition  of  his  own  aside 
from  the  general  clan  tradition,  and, 
owing  to  the  possession  of  the  tradi- 
tion, which  almost  always  concerns  the 
acquisition  of  a manitou,  he  has  certain 
crests  and  privileges  of  his  own.  This 
tradition  and  the  crests  and  privileges 
connected  with  it  descended,  together 
with  the  name  of  the  ancestor,  upon  his 
direct  descendants  in  the  male  line,  or, 
as  indicated  above,  through  marriage 
of  his  daughter,  upon  his  son-in-law, 
and  through  him  upon  his  grandchil- 
dren. But  there  is  only  one  man  at  a 
time  who  personates  the  ancestor  and 
who,  consequently,  has  his  rank  and 
privileges.  The  individuals  personat- 
ing the  ancestors  form  the  nobility  of 


1 See  page  344. 


THE  KWAKIUTL  INDIANS. 


339 


the  tribe.  The  number  of  noblemen  is  therefore  fixed.  They  are  not 
equal  in  rank,  but  range  in  the  manner  in  which  their  ancestors  were 
supposed  to  range.  At  all  festivals  they  sit  in  the  order  of  their  rank, 
which  is  therefore  called  the  u seat ” of  the  person  (^a'qoe).  The  legend 
says  that  the  order  of  seats  was  given  by  the  deity  at  a festival  of  the 
tribes,  at  the  time  when  animals  were  still  able  to  speak.  The  noblest 
clan,  and  among  them  the  noblest  name,  is  called  the  u eagle”  (kue/ku) 
of  the  tribe.  In  order  to  show  the  complexity  of  this  system,  I give  a 
list  of  the  nobility  of  one  tribe : 

TRIBE,  MA'MALELEQALA. 


I.  Kue'k11. 

1.  Lasoti' walls.  4.  NEmoqulag’ilists’e  (the  great  one  al- 

2.  O'ts’estalls  (creating  trouble  all  ways  alone  on  world). 

around).  5.  Lalak'uts’ats’e. 

3.  Anxwe't.  6.  NEnambaSo. 


II.  Te'mltemlees. 


1.  Mo'p’Enqam  (four  fathom  face). 

16. 

Qu'mxdlagdlis  (always  rolling 

2.  Kwa/x'se’stala  (baying  smoke  all 

down). 

around). 

17. 

HednaskEn. 

3.  Ama/XulaL  (making  potlatch  dances 

18. 

Da/dants’ide. 

all  the  time). 

19. 

Y a/qustulag  • ills. 

4.  rja/qoats’e  (great  copper). 

20. 

Ya/yagilis. 

5.  Ya/qoLasEmae  (from  whom  property 

21. 

Ma/las. 

comes. 

22. 

G^cfte. 

6.  Wa/k'as. 

23. 

Adakdla. 

7.  YaqoLas  (giving  wealth). 

24. 

Qoayo’LElas. 

8.  G’exslstallsame. 

25. 

Ma'Xua. 

9.  Ha’mts’ide  (giving  food). 

26. 

NEg'e'ts’e  (great  mountain). 

10.  i/a/lisk-as’d  (real  whale  standing  on 

27. 

Male'ts’as. 

beach). 

28. 

Hana/yus. 

11.  MaXualag'ills  (giving  potlatch  every- 

29. 

Ola  NEmo’gwts  (the  great  only 

where). 

one). 

12.  Kwa/ilaskEn. 

30. 

Wa/xawlda  |Eme. 

13.  Tslx'wl'de. 

31. 

Nanambango. 

14.  Se’wit’e  (to  whom  people  paddle). 

32. 

E'wanuX. 

15.  Ya/qai/Enala  (whose  body  is  all 

wealth). 

III.  We'wamasqem. 

1.  Se'wit’e  (to  whom  people  paddle). 

12. 

Yeqok’uadagdlls  (about  whose  prop- 

2. Wa/gidis  [great  (whale)  lying  on 

erty  people  talk). 

ground] . 

13. 

L’a/qoats’e  (great  copper). 

3.  Ma/Xuayalits’e. 

14. 

Hewasa. 

4.  KamSide. 

15. 

Yaxyiqas  (whose  property  is  eaten 

5.  Xo’samda’as. 

in  feasts). 

6.  naqoamut  (piece  of  copper). 

16. 

Ha'yukwls. 

7.  G’Vte  (throwing  away  property). 

17.  NEmogwists’e  (the  great  only  one). 

8.  WlLtsistala. 

18. 

Wfts’ekwadasu. 

9.  NEno’laSame  (fool’s  face). 

19. 

Wa/’mis  (catching  salmon). 

10.  Wa'Lowt't'e  (from  whom  presents  are 

20. 

Xosamda’as. 

expected). 

21. 

Ma/Xuayalls. 

11.  Ma/Xuayalls. 


340 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


IV.  Wa'las. 


1.  Xe'xana-us. 

22. 

Se'saxolas. 

2.  Lagesawa. 

23. 

Ha/misElaL  (dance  of  receiving  pres- 

3. G'e'xkdnts’e  (too  great  a chief). 

ents). 

4.  Ahnawiyus  (always  giving  potlatch). 

24. 

Ts’a'qalaL  (dance  of  throwing  away 

5.  Wa'las  Kwa'x-ilanokume. 

property). 

6.  'ia/qoalaL  (copper  dance). 

25. 

TsVx’ts’aesaqame. 

7.  La/goLas  (from  whom  coppers  are  ob- 

26. 

i/a/bide. 

tained). 

27. 

Xo'samda’as. 

8.  Hai'aLqEn. 

28. 

Se'wit’e  (to  whom  people  paddle). 

9.  QVmx-ilag-ilis  (always  rolling 

29. 

Mo'nakula  (loaded  canoe  moving). 

down). 

30. 

Wa'las  (the  great  one). 

10.  Ha'mts’ide  (giving  food). 

31. 

Qoayi'mts’e  (the  great  whale). 

11.  Potiide  (satiating). 

32. 

He'nak’alaso  (envied). 

12.  Qamqolag’alitsu. 

33. 

Ha'yugwis. 

13.  K’oa'maxa/las  (around  whom  people 

34. 

Tsa'xtsaXualls. 

sit). 

35. 

Q’d'mk-Enis  (too  rich). 

14.  He'nak-alasd  (envied). 

36. 

G-’e'g-’ESLEn. 

15.  LalakEnSame. 

37. 

*)ayusdes. 

16.  Tsox-tsa-esaqame. 

38. 

G’esoyakalis. 

17.  Se'wit’e  (to  whom  people  paddle). 

39. 

Ya'qoLas  (giving  wealth). 

18.  jqa'Suyalakwam. 

40. 

Owogwela. 

19.  PE'nqoet’e  (giving  soft  food). 

41. 

Mop’Enqam  (four  fathom  face). 

20.  Ha'mts’ide  (giving  food). 

42. 

WaLalas  (around  whom  people  assem- 

21. La/qoag-ila  (copper  maker). 

ble). 

V.  Ma'maleleqam. 

1.  Wa/’mis  (catching  salmon). 

14. 

Ealbax’salag’ilis. 

2.  f)aSuyalakwam. 

15. 

Ama'XulaL  (potlatch  dance). 

3.  Se'saxolas. 

16. 

Ma'Xuag-ilis. 

4.  ^odalagulis. 

17. 

Lasuti'walis. 

5.  Kwa'usdets’as. 

18. 

Ne'naguasEme. 

6.  Ma/Xuag'ila  (giving  potlatch). 

19. 

X'a/x'alquts’a. 

7.  Ya'qaUEnala  (whose  body  is  all 

20. 

L,a/q6atseandG,i/g'ide(greatcopper). 

wealth). 

21. 

La/kanx-Ide. 

8.  K’oa'maxa’las  (around  whom  people 

22. 

*)odalag*ilis. 

sit). 

23. 

G’i'qame  (chief). 

9.  G'ex-Lalats’e. 

24. 

La'g-us. 

10.  Ya/qai/Enala  (whose  body  is  all 

25. 

La'lbax-salag-ilis. 

wealth). 

26. 

Ba'salaL. 

11.  YeqoLeqalas  (from  whom  presents  are 

27. 

Ya'qaL’Enala  (whose  body  is  all 

expected). 

wealth). 

12.  LE'lak’inis  (rising  too  high). 

28. 

G*e'xk*in  (too  great  a chief). 

13.  Ma'Xmawisaqame  (always  giving 

29. 

Po'tLide  (satiating). 

blankets  away  while  walking). 

30. 

Awa'lask’enis  (getting  to  great). 

These  names  are  acquired  by  different  individuals,  but  they  are  not 
necessarily  retained  through  life,  as  with  a new  marriage  a new  name 
may  be  obtained  from  the  new  wife’s  father.  The  series  is  not  beyond 
all  doubt,  since  in  many  instances  the  Indians  are  not  now-a-days  quite 
certain  as  to  the  order  of  names.  This  is  due  to  the  fact  that  there 
are  not  enough  individuals  in  the  tribes  to  occupy  all  these  places. 


THE  KWAKIUTL  INDIANS. 


341 


III.  The  Potlatch. 

Before  proceeding  any  further  it  will  be  necessary  to  describe  the 
method  of  acquiring  rank.  This  is  done  by  means  of  the  potlatch,  or 
the  distribution  of  property.  This  custom  has  been  described  often, 
but  it  has  been  thoroughly  misunderstood  by  most  observers.  The 
underlying  principle  is  that  of  the  interest-bearing  investment  of 
property. 

The  child  when  born  is  given  the  name  of  the  place  where  it  is  born. 
This  name  (gffinLaxLe)  it  keeps  until  about  a year  old.  Then  his  father, 
mother,  or  some  other  relative,  gives  a paddle  or  a mat  to  each  member 
of  the  clan  and  the  child  receives  his  second  name  (na/raap’axLeya). 
When  the  boy  is  about  10  or  12  years  old,  he  obtains  his  third  name 
(SbmiatsExLa/ye).  In  order  to  obtain  it,  he  must  distribute  a number 
of  small  presents,  such  as  shirts  or  single  blankets,  among  his  own 
clan  or  tribe.  When  the  youth  thus  starts  out  in  life,  he  is  liberally 
assisted  by  his  elders,  particularly  by  the  nobility  of  the  tribe. 

I must  say  here  that  the  unit  of  value  is  the  single  blanket,  nowa- 
days a cheap  white  woolen  blanket,  which  is  valued  at  50  cents.  The 
double  blanket  is  valued  at  three  single  blankets.  These  blankets  form 
the  means  of  exchange  of  the  Indians,  and  everything  is  paid  for  in 
blankets  or  in  objects  the  value  of  which  is  measured  by  blankets. 
When  a native  has  to  pay  debts  and  has  not  a sufficient  number  of 
blankets,  he  borrows  them  from  his  friends  and  has  to  pay  the  following 
rates  of  interest : 

For  a period  of  a few  months,  for  5 borrowed  blankets  G must  be 
returned  (Le/k*o) ; for  a period  of  six  months,  for  5 borrowed  blankets  7 
must  be  returned  (ma/’Laxsa  Le/k-oyo) ; for  a period  of  twelve  months  or 
longer,  for  5 borrowed  blankets  10  must  be  returned  (de'ida  or  g-e'La). 

When  a person  has  a poor  credit,  he  may  pawn  his  name  for  a year. 
Then  the  name  must  not  be  used  during  that  period,  and  for  30  blankets 
which  he  has  borrowed  he  must  pay  100  in  order  to  redeem  his  name. 
This  is  called  q?a/q’oaxo  (selling  a slave). 

The  rate  of  interest  of  the  Le'kffi  varies  someAvhat  around  25  per 
cent,  according  to  the  kindness  of  the  loaner  and  the  credit  of  the 
borrower.  For  a very  short  time  blankets  may  be  loaned  without 
interest.  This  is  designated  by  the  same  term. 

When  the  boy  is  about  to  take  his  third  name,  he  will  borrow 
blankets  from  the  other  members  of  the  tribe,  who  all  assist  him.  He 
must  repay  them  after  a year,  or  later,  with  100  per  cent  interest.  Thus 
he  may  have  gathered  100  blankets.  In  June,  the  time  set  for  this  act, 
the  boy  will  distribute  these  blankets  among  his  own  tribe,  giving 
proportionately  to  every  member  of  the  tribe,  but  a few  more  to  the 
chief.  This  is  called  La/X’uit.  When  after  this  time  any  member  of 
the  tribe  distributes  blankets,  the  boy  receives  treble  the  amount  he 
has  given.  The  people  make  it  a point  to  repay  him  inside  of  a month. 


342 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


Thus  he  owns  300  blankets,  of  which,  however,  he  must  repay  200  after 
the  lapse  of  a year.  He  loans  the  blankets  out  among  his  friends,  and 
thus  at  the  close  of  the  year  he  may  possess  about  400  blankets. 

The  next  June  he  pays  his  debts  (qoana')  in  a festival,  at  which  all 
the  clans  from  whom  he  borrowed  blankets  are  present.  The  festival 
is  generally  held  on  the  street  or  on  an  open  place  near  the  village. 
Up  to  this  time  he  is  not  allowed  to  take  part  in  feasts.  But  now  he 
may  distribute  property  in  order  to  obtain 
a potlatch  name  (p’a/tsaxLaye).  This  is 
also  called  La/X’uit. 

At  this  time  the  father  gives  up  his  seat 
(La/Xoe)  in  favor  of  his  son.  After  the  boy 
has  paid  his  debts,  the  chief  calls  all  the 
older  members  of  the  tribe  to  a council,  in 
which  it  is  resolved  that  the  boy  is  to  re- 
ceive his  father’s  seat.  The  chief  sends 
his  speaker  to  call  the  boy,  and  his  clan  go 
out  in  company  with  the  speaker.  The 
young  man — for  henceforth  he  will  be 
counted  among  the  men — dresses  with  a 
black  headband  and  paints  long  vertical 
stripes,  one  on  each  side  of  his  face,  run- 
ning down  from  the  outer  corners  of*  the 
eyes.  Tbe  stripes  represent  tears.  He 
gives  a number  of  blankets  to  his  friends, 
who  carry  them  into  the  house  where  the 
council  is  being  held.  The  speaker  enters 
first  and  announces  his  arrival.  The 
young  man  follows,  and  after  him  enter 
his  friends,  carrying  blankets.  He  re- 
mains standing  in  front  of  the  fire,  and 
the  chief  announces  to  him  that  he  is  to 
take  his  father’s  seat.  Then  the  boy  dis- 
tributes his  blankets  among  the  other  clans 
and  sells  some  for  food,  with  which  a feast 
is  prepared.  His  father  gives  up  his  seat 
and  takes  his  place  among  the  old  men 
(XohnatseiL).  The  blankets  given  away 
at  this  feast  are  repaid  with  100  per  cent  interest.  In  this  manner  the 
young  man  continues  to  loan  and  to  distribute  blankets,  and  thus  is  able, 
with  due  circumspection  and  foresight,  to  amass  a fortune.  Sometimes 
it  happens  that  the  successor  to  a man’s  name  (Lawu/lqame)  already  has 
a name  of  his  own.  In  all  such  cases  (also  when  the  name  is  acquired 
by  inheritance)  the  successor  gives  up  his  name  and  his  property  to  his 
own  successor. 

Possession  of  wealth  is  considered  honorable,  and  it  is  the  endeavor 
of  each  Indian  to  acquire  a fortune.  But  it  is  not  as  much  the  posses- 


Fig.  2. 


COPPER  PLATE. 

Design  in  black,  showing  a sea-monster 
with  hear’s  head  and  forelegs  and 
body  of  a killer  whale,  which  is  indi- 
cated. by  two  pins  between  the  fore- 
legs of  the  bear. 

Scale  T\. 

IV  A,  No.  988,  Royal  Ethnographical  Museum, 
Berlin. 


THE  KWAKIUTL  INDIANS. 


343 


sion  of  wealth  as  the  ability  to  give  great  festivals  which  makes  wealth 
a desirable  object  to  the  Indian.  As  the  boy  acquires  his  second 
name  and  man’s  estate  by  means  of  a distribution  of  property,  which 
in  course  of  time  will  revert  to  him  with  interest,  the  man’s  name 
acquires  greater  weight  in  the  councils  of  the  tribe  and  greater  renown 
among  the  whole  people,  as  he  is  able  to  distribute  more  and  more 
property  at  each  subsequent  festival.  Therefore  boys  and  men  are 
vying  with  each  other  in  the  arrangement  of  great  distributions  of 
property.  Boys  of  different  clans  are  pitted  against  each  other  by 
their  elders,  and  each  is  exhorted  to  do  his  utmost  to  outdo  his  rival. 
And  as  the  boys  strive  against  each  other, 
so  do  the  chiefs  and  the  whole  clans,  and 
the  one  object  of  the  Indian  is  to  outdo 
his  rival.  Formerly  feats  of  bravery 
counted  as  well  as  distributions  of  prop- 
erty, but  nowadays,  as  the  Indians  say, 
u rivals  fight  with  property  only.”  The 
clans  are  thus  perpetually  pitted  against 
each  other  according  to  their  rank.  The 
Kwakiutl  tribes  are  counted  as  the  high 
est  in  the  order  given  in  the  above  list. 

In  intertribal  rivalry  they  do  not  strive 
against  each  other,  but  the 

Gue'tEla  against  the  Mahnaleleqala. 

Q’o'moyue  against  the  Qoe/xsot,en6x. 

Q’ohnk'utis  against  the  NE'mqic  or  Lao'koatx. 

Wa/las  Kwakiutl  against  the  Lauhtsisor  TsVmas. 

I referred  several  times  to  the  distribu- 
tion of  blankets.  The  recipient  in  such  a 
distribution  is  not  at  liberty  to  refuse  the 
gift,  although  according  to  what  I have 
said  it  is  nothing  but  an  interest-bearing 
loan  that  must  be  refunded  at  some  future 
time  with  1 00  per  cent  interest.  This  fes- 
tival is  called  p’a'sa,  literally,  flattening 
something  (for  instance,  a basket).  This 
means  that  by  the  amount  of  property  given  the  name  of  the  rival  is 
flattened. 

There  is  still  another  method  of  rising  in  the  social  scale,  namely,  by 
showing  one’s  self  superior  to  the  rival.  This  may  be  done  by  inviting 
the  rival  and  his  clan  or  tribe  to  a festival  and  giving  him  a consider- 
able number  of  blankets.  He  is  compelled  to  accept  these,  but  is  not 
allowed  to  do  so  until  after  he  has  placed  an  equal  number  of  blankets 
on  top  of  the  pile  offered  to  him.  This  is  called  dapEntg-ala  and  the 
blankets  placed  on  top  of  the  first  pile  are  called  da/pEno.  Then  he 
receives  the  whole  pile  and  becomes  debtor  to  that  amount,  i.  e.,  he 
must  repay  the  gift  with  100  per  cent  interest. 


The  painting  on  this  plate  represents 
the  hawk.  The  upper  face  shows  the 
hawk’s  head,  and  the  lower  face  its 
hody.  The  three  lines  on  each  side  of 
the  hody  are  probably  the  talons. 

Cat.  No.  20778,  U.  S.  N.  M. 


344 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


A similar  proceeding  takes  place  when  a canoe  is  given  to  a rival. 
The  latter,  when  the  gift  is  offered  to  him,  must  put  blankets  to  the 
amount  of  half  the  value  of  the  canoe  on  to  it.  This  is  called  da/g*ot, 
taking  hold  of  the  bow  of  the  canoe.  These  blankets  are  kept  by  the 
first  owner  of  the  canoe.  Later  on,  the  recipient  of  the  canoe  must 
return  another  canoe,  together  with  an  adequate  number  of  blankets,  as 
an  “ anchor  line”  for  the  canoe.  This  giving  of  a canoe  is  called  sa/k-a. 

Still  more  complicated  is  the  purchase  or  the  gift,  however  one 
chooses  to  term  it,  of  a “ copper.”  All  along  the  North  Pacific  Coast, 
from  Yakutat  to  Comox,  curiously  shaped  copper  plates  are  in  use, 
which  in  olden  times  were  made  of  native  copper,  which  is  found  in 
Alaska  and  probably  also  on  Nass  Eiver,  but  which  nowadays  are 
worked  out  of  imported  copper.  The  typical  shape  of  these  copper 
plates  may  be  seen  in  figs.  2 and  3 and  Plate  4.  The  T-shaped  part 
(qa’la's),  which  forms  two  ridges,  is  hammered.  The  top  is  called  “the 
face”  (o'nuxLEme),  the  lower  part  the  hind  end  (o'nutsExste).  The 
front  of  the  copper  is  covered  with  black  lead,  in  which  a face,  repre- 
senting the  crest  animal  of  the  owner,  is  graven.  These  coppers  have 
the  same  function  which  bank  notes  of  high  denominations  have  with 
us.  The  actual  value  of  the  piece  of  copper  is  small,  but  it  is  made  to 
represent  a large  number  of  blankets  and  can  always  be  sold  for 
blankets.  The  value  is  not  arbitrarily  set,  but  depends  upon  the 
amount  of  property  given  away  in  the  festival  at  which  the  copper  is 
sold.  On  the  whole,  the  oftener  a copper  is  sold  the  higher  its  value, 
as  every  new  buyer  tries  to  invest  more  blankets  in  it.  Therefore  the 
purchase  of  a copper  also  brings  distinction,  because  it  proves  that  the 
buyer  is  able  to  bring  together  a vast  amount  of  property. 

Each  copper  has  a name  of  its  own,  and  from  the  following  list  of 
coppers,  which  were  in  Fort  Rupert  in  1893,  the  valpes  attached  to  some 
of  them  may  be  seen : 

Ma/xts’olEm  (=  all  other  coppers  are  ashamed  to  look  at  it),  7,500  blankets.1 

L’a/xolainas  (=  steel-head  salmon,  i.  e.,  it  glides  out  of  one’s  hands  like  a salmon), 
6,000  blankets. 

■Lo'peLila  (=  making  the  house  empty  of  blankets),  5,000  blankets. 

DE'nt’alayo  (= about  whose  possession  all  are  quarreling). 

Mau'ak-’a  (=sea  lion). 

Qau’lo'ma  (=beaver  face). 

Le'ita  (=  looking  below;  namely,  in  order  to  find  blankets  with  which  to  buy  it). 

Nu'se  (=moon ; its  engraving  represents  the  half  moon,  in  which  a man  is  sitting). 

G’a'waqa  (=a  spirit.  He'iltsuq  dialect,  corresponding  to  the  Kwakiutl  Ts’o'noqoa. 
See  p.  372). 

NElqEmala  (=day  face). 

NE'nqEmala  (=bear  face). 

ETa/na  (=crow;  Hefiltsuq  dialect). 

QoayEm  (—  whale). 

Ma/x’endx  (=killer  whale). 

Qoayi'mkdn  ( = too  great  a whale). 

Wkna  (=war,  against  the  blankets  of  the  purchaser). 


xThis  copper  has  two  crosspieces. 


Report  of  U.  S.  National  Museum,  1895— Boas. 


Plate  4. 


Copper  Plate  with  Design  representing  the  Hawk. 

The  design  is  etched  and  dark  portions  are  painted  black.  Only  the  head  and  the  feet  of  the 
bird  are  shown.  The  latter  are  laid  under  the  beak. 

B\67,.  American  Museum  of  Natural  History,  New  York. 


Report  of  U.  S.  National  Museum,  1895. — Boas. 


Plate  5. 


View  of  Fort  Rupert,  looking  Westward,  showing  Blanket  Posts  (a,  b). 


THE  KWAKIUTL  INDIANS. 


345 


The  purchase  of  a high-priced  copper  is  an  elaborate  ceremony,  which 
must  be  described  in  detail.  The  trade  is  discussed  and  arranged  long 
beforehand.  When  the  buyer  is  ready,  he  gives  to  the  owner  of  the 
copper  blankets  about  one-sixth  of  the  total  value  of  the  copper.  This 
is  called  “making  a pillow”  for  the  copper  (qe'nullLa);  or  “making 
a feather  bed”  (taffqoa)  or  “the  harpoon  line  at  which  game  is  hang- 
ing ” (do'xsEmt),  meaning  that  in  the  same  manner  the  copper  is 
attached  to  the  long  line  of  blankets;  or  “taken  in  the  hand,  in  order 
to  lift  the  copper”  (da/g-ilelEm).  The  owner  of  the  copper  loans  these 
blankets  out,  and  when  he  has  called  them  in  again,  he  repays  the  total 
amount  received,  with  100  per  cent  interest,  to  the  purchaser.  On  the 
following  day  the  tribes  assemble  for  the  sale  of  the  copper.  The  pre- 
scribed proceeding  is  as  follows:  The  buyer  offers  first  the  lowest 
prices  at  which  the  copper  was  sold.  The  owner  declares  that  he  is 
satisfied,  but  his  friends  demand  by  degrees  higher  and  higher  prices, 
according  to  all  the  previous  sales  of  the  copper.  This  is  called  g-i'na. 
Finally,  the  amount  offered  is  deemed  satisfactory.  Then  the  owner 
asks  for  boxes  to  carry  away  the  blankets.  These  are  counted  five 
pairs  a box,  and  are  also  paid  in  blankets  or  other  objects.  After 
these  have  been  paid,  the  owner  of  the  copper  calls  his  friends — mem- 
bers of  his  own  tribe — to  rise,  and  asks  for  a belt,  which  he  values  at 
several  hundred  blankets.  While  these  are  being  brought,  he  and  his 
tribe  generally  repair  to  their  house,  where  they  paint  their  faces  and 
dress  in  new  blankets.  When  they  have  finished,  drums  are  beaten  in 
the  house,  they  all  shout  “ hi ! ” and  go  out  again,  the  speaker  of  the  seller 
first.  As  soon  as  the  latter  has  left  the  house,  he  turns  and  calls  his 
chief  to  come  down,  who  goes  back  to  where  the  sale  is  going  on,  fol- 
lowed by  his  tribe.  They  all  stand  in  a row  and  the  buyer  puts  down 
the  blankets  which  were  demanded  as  a belt,  “to  adorn  the  owner  of  the 
copper.”  This  whole  purchase  is  called  “putting  the  copper  under  the 
name  of  the  buyer”  (La/sa). 

In  this  proceeding  the  blankets  are  placed  in  piles  of  moderate 
height,  one  pile  close  to  the  other,  so  that  they  occupy  a considerable 
amount  of  space.  In  Fort  Rupert  there  are  two  high  posts  on  the 
beach  bearing  carved  figures  on  top,  between  which  the  blankets  are 
thus  piled  (Plate  5).  They  stand  about  40  steps  apart. 

On  the  following  day  all  the  blankets  which  have  been  paid  for  the 
copper  must  be  distributed  by  the  owner  among  his  own  tribe,  paying 
to  them  his  old  debts  first,  aud,  if  the  amount  is  sufficient,  giving  new 
presents.  This  is  called  “doing  a great  thing”  (waTasila). 

Coppers  are  always  sold  to  rivals,  and  often  a man  will  offer  his  cop- 
per for  sale  to  the  rival  tribe.  If  it  is  not  accepted,  it  is  an  acknowl- 
edgment that  nobody  in  the  tribe  has  money  enough  to  buy  it,  and 
the  name  of  the  tribe  or  clan  would  consequently  lose  in  weight. 
Therefore,  if  a man  is  willing  to  accept  the  offer,  all  the  members  of 
the  tribe  must  assist  him  in  this  undertaking  with  loans  of  blankets. 


346 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


Debts  which  are  repaid  in  the  wa'lasila  were  mostly  contracted  in  this 
manner. 

In  order  to  better  illustrate  this  curious  proceeding,  I will  describe 
the  sale  of  a copper  which  took  place  in  the  winter  of  1894-95. 

First,  a feast  was  celebrated,  in  which  the  Ma'maleleqala  offered  the 
copper  Ma/xts’olEin  for  sale  to  the  Kwakiutl.  Ma'Xua,  chief  of  the 
clan  Maa'mtag-ila,  invited  all  the  tribes  to  his  house.  Then  he  spoke : 

“Come,  tribe,  to  my  house.  This  is  the  house  of  the  first  Ma'Xua 
at  G-agaxsdals. 

“This  is  the  feast  house  of  Ma'Xua  here. 

“This  is  the  house  to  which  Ma'Xua  invited  at  Egdsbalis. 

“This  is  the  house  to  which  Ma'Xua  invited  at  Qalo'gwis. 

“This  is  the  feast  house  of  Ma'Xua  at  G-a'qis. 

“This  is  the  house  to  which  my  father  invited  at  Tsa'xis. 

“I  take  the  place  of  my  father  now. 

“I  invited  you,  tribes,  that  you  should  come  and  see  my  house  here. 

“I  am  proud  to  speak  of  my  ancestor,  the  chief  who  in  the  beginning 
of  the  world  had  the  name  Ma'Xua.” 

Then  Ma'Xua  turned  to  his  own  tribe  and  said : “ Yes,  K*?esoyag*ilis. 
Yes,  Ma'Xuag-ila.  Let  me  speak  of  my  ways,  Wa,  wa!  thus  I speak, 
my  tribe.”  Then  he  turned  again  to  the  other  tribes  and  told  them 
to  sing,  saying,  “Go  on,  tell  the  whole  world,  tribes!  go  on  and  sing; 
this  was  given  to  our  ancestors  in  the  beginning  of  the  world  by 
Kuekuaxa'oe.1” 

Now  Ma'Xua  stopped  speaking,  and  Qoayo'Llas,  chief  of  the  Ma'mal- 
eleqala of  the  clan  Wa'las,  spoke:  “Yes,  Chief!  it  is  true  what  you  said. 
I thank  you  for  your  words,  Chief!  Our  ways  are  not  new  ways.  They 
were  made  by  our  chief  (the  deity)  and  marked  out  for  us  when  he  made 
our  ancestors  men.  We  try  to  imitate  what  our  ancestors  were  told  to 
do  by  the  creator.  Keep  in  your  old  ways,  Kwakiutl;  keep  in  the  ways 
of  your  grandfathers,  who  laid  down  the  custom  for  you.”  Then 
he  turned  to  his  own  tribe  and  said:  “That  is  what  I say,  Wa'k-as. 
That  is  what  I say,  NEg-e'.  The  word  of  the  chief  shall  not  hurt 
me.”  Now  he  took  the  copper  (Plate  6)  and  said:  “Now  sing  my 
song!”  His  tribe  sang,  and  after  they  had  finished  Qoayo'Llas  spoke 
again:  “Yes,  my  tribe!  I can  not  help  how  I feel;  I have  nothing 
against  the  way,  Kwakiutl,  in  which  you  treat  me  and  my  tribe.  Now 
I will  promise  blankets  to  you,  Kwakiutl,  blankets  to  you,  Gue'tEla, 
blankets  to  you,  Q’o'moyue,  blankets  to  you,  Q?o'mk*utis,  blankets  to 
you,  Walas  Kwakiutl:  this  copper  belongs  to  Ts’a/xts’agits’Emqa,  the 
son  of  Walas  NEmo'gwis.  Now  take  care,  great  tribe!  This  great 
copper  has  a high  price;  its  name  is  Ma'xts’olEin  (the  one  of  whom  all 
are  ashamed).  Now  I am  going  to  lay  it  down  before  you,  Kwakiutl. 
Do  not  let  me  carry  it  myself,  La'bid ! Take  it  to  the  chiefs.” 

XF.  Boas,  “ Indianische  Sagen  von  der  Nord-Pacifischen  Kiiste  Amerikas,”  Berlin, 
1895,  page  208. 


Report  of  U.  S.  National  Museum,  1895. — Boas. 


Plate  6. 


Chief  holding  his  Copper. 


THE  KWAKIUTL  INDIANS. 


347 


Then  La/bid  arose  and  spoke:  “Say  this  again,  my  chief!  Now  look 
out,  chiefs  of  the  Kwakiutl,  this  is  Se7xitg*ila  Ma/xts’dlEm.1  This  I will 
bring  to  yon.” 

Then  he  stepped  toward  the  Kwakiutl,  and  put  the  copper  on  the  floor 
where  they  were  sitting.  Now  Owaxa/lag-ilis  arose,  took  the  copper,  and 
spoke:  “Thank  you,  Walas  NEino7gwis.  Come  now,  salmon,  for  which 
our  forefathers  have  been  watching.  This  is  Ma/xts’blEm.  I will  buy 
this  MiVxts’nlEm.  Now  pay  me,  Kwakiutl,  what  I loaned  to  you,  that 
I may  buy  it  quickly,  in  order  to  keep  our  name  as  high  as  it  is  now. 
Don’t  let  us  be  afraid  of  the  price  of  Ma/xts’olEm,  my  tribe,  wa,  wa! 
Now  put  down  the  dishes,  that  our  tribe  may  eat.” 

OwaxaTag’ilis  sat  down,  the  young  man  distributed  the  dishes,  and 
all  the  tribes  ate.  Now  Ma/Xua  stepped  up  again  and  spoke  kindly  to 
the  eating  peojde.  “Go  on,”  he  said,  “eat,  Walas  NEino7gwis;  eat, 
He'Lamas;  eat,  NEg-e7;  eat  you,  Ma7maleleqala;  eat,  La/qoLas;  eat, 
G-’ote,  you  NE7mqic;  eat,  Se7wit’e;  eat,  E7wanuX;  eat  you,  Lau7itsis; 
eat,Wa/k*as;  eat,  PoTiide,  you,  Ma/t’ilpe  ; eat,Wats’e;  eat,  He7 was,  you 
T’Ena7xtax.  Eat,  all  you  tribes.  Now  it  is  done.  I have  already  told 
you  of  my  grandfather.  This  food  here  is  the  good  will  of  our  fore- 
father. It  is  all  given  away.  Now,  look  out,  Kwakiutl!  our  chief 
here  is  going  to  buy  this  copper,  and  let  us  help  him,  wa,  wa!”  Then 
spoke  Ha/mEsk-inis  and  said : “Your  words  are  true,  Chief!  how  true  are 
your  words.  I know  how  to  buy  coppers;  I always  pay  high  prices  for 
coppers.  Now  take  care,  Kwakiutl,  my  tribe,  else  you  will  be  laughed 
at.  Thus  I say,  (Yts’estalis;  thus  I say,  Wa7nuku;  thus  I say,  young 
chiefs  of  the  Kwakiutl;  thus  I say,  Tso7palis;  thus  I say,  07gwila;  thus 
I say,  OTnx-’it,  young  chiefs  of  the  Q’o7moyue;  thus  I say,  Qoe7malasts’e ; 
thus  Isay,  Yeqawit,  chiefs  of  the  Q’d'mk-utis;  thus  I say,  Qoayd7Llas; 
thus  I say,  Wa/kidis,  young  chiefs  of  the  TV' alas  Kwakiutl.  This  is 
my  speech  for  our  children,  Ma/Xuag-ila,  that  they  may  take  care, 
wa,  wa!”  Then  Qoayo7Llas  stood  up  again  and  said:  “Thank  you; 
did  you  hear,  Labid?  Ho,  ho,  ho,  ho,  uo,  uo,  uo.  [The  “ho”  means  the 
lifting  of  the  heavy  copper  from  the  ground;  the  “no”  is  the  cry  of  the 
Ts’o'noqoa.]2  Now  let  me  invite  them,  Ma7maleleqala;  I believe  they 
want  to  buy  my  copper.  Now  I will  invite  them.”  Then  his  tribe  said : 
“Do  it,  do  it,”  and  he  continued : “Now,  Gue7tEla,  behold  the  dance  of 

La'qoagnlayukoa,  the  daughter  of  Walas  NEmd7gwis.  Now,  Q’o'moyue, 
see  the  dance  of  AomoLa,  the  daughter  of  Walas  NEmd7gwis.  Now, 
Q’o'mk-utis,  see  the  dance  of  Ma/mx-oyukoa,  the  daughter  of  Walas 
NEmo7gwis.  Now,  Walas  Kwa/kiutl,  see  the  dance  of  Ma7Xualag*ilis, 
the  son  ot  Walas  NEmo7gwis.  These  are  my  words,  wa,  wa!” 

Then  all  the  guests  went  out.  Later  on  Owaxa/lag-ilis  invited  all 
the  Kwakiutl,  Ma'maleleqala,  NE7mqic,  Laudtsis,  T’Ena7xtax,  and 
Ma/tilpe,  because  he  intended  to  buy  the  copper  Ma/xts’blEm  that 


1 The  one  who  makes  thirsty  and  of  whom  all  are  ashamed. 

2 See  page  372. 


348 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


morning  on  the  beach.  Then  all  the  tribes  assembled.  Owaxa/lag’ilis 
stood  on  the  beach  and  spoke.  He  said : 

“Xow,  come,  chiefs  of  all  the  tribes.  Yes,  yon  come,  because  we 
want  to  do  a great  work.  Now,  I am  going  to  buy  the  copper 
Ma/xts’olEm,  of  Walas  XEmo'gwis.  Only  don’t  ask  too  high  a price 
for  it.  And  you,  young  chiefs  of  the  Kwakiutl,  take  care  and  help  me. 
Go  now  and  bring  the  blankets  from  my  house.” 

Then  the  young  men  went  and  piled  up  the  blankets  on  the  beach. 
Ma/Xua  and  O'ts’estalis  counted  them.  One  man  of  the  Ma'malelecjala, 
one  of  the  Ximkish,  one  of  the  LauTtsis,  kept  the  tally.1 

Ma/Xua  spoke:  “It  is  my  office  to  take  care  of  the  property  of  our 
chief.  It  was  the  office  of  my  forefathers.  Xow  I will  begin.”  Then 
he  counted  one  pair,  two  pairs,  three  pairs,  four  pairs,  five  pairs,  six  pairs, 
seven  pairs,  eight  pairs,  nine  pairs,  ten  pairs.  As  soon  as  ten  pairs 
were  counted,  he  said  aloud,  “ten  pairs,”  and  the  counters  repeated, 
“twenty  blankets,”  and  put  two  stones  aside.  When  Ma/Xua  had 
counted  another  ten  pairs,  the  counters  said,  “forty  blankets,”  and  put' 
two  more  stones  aside.  They  continued  to  put  aside  two  stones  for 
each  ten  pairs  of  blankets  (Plates  7 and  8).  Two  men  kept  on  piling  up 
the  blankets,  and  when  they  had  piled  up  1,000  blankets,  Ma'Xua  said 
aloud,  “One  thousand  blankets.”  The  blankets  were  piled  up  along- 
side of  a carved  beam  standing  on  the  beach  (Plate  5).  When  the  pile 
was  high  enough,  a new  one  was  begun  right  next  to  the  first  pile. 

Then  Owaxa/lag’ilis  arose  and  spoke:  “Tribes,  I buy  the  copper 
Ma/xts’olEm  with  these  1,000  blankets.  I shall  not  give  any  more 
unless  the  chiefs  of  all  the  tribes  should  ask  for  more,  wa ! That  is 
my  speech,  chiefs  of  the  Kwakiutl.”  Xow  he  sat  down  and  Walas 
XEmo'gwis  arose.  He  said:  “ Ya,  Owaxa/lag’ilis ! are  your  words  true? 
Did  you  say  it  was  enough  ? ” Then  he  turned  to  his  tribe  and  said, 
“ Ya,  OlsPwit ! Xow  rise,  chief,  and  speak  for  me.  That  is  what  I say, 
Laffiide.” 

Then  Disk  wit  arose  (see  Plates  9 and  10)  and  said:  “Are  those  your 
words,  Kwakiutl?  Did  you  say  this  was  all  that  you  were  going  to  give 
for  the  copper  ? Are  there  1,000  blankets  ? ” The  counters  replied,  “ Yes, 
there  are  1,000  blankets.”  Olskwit  continued:  “Thank  you,  Owaxa'- 
lag  ilis,  Chief.  Do  you  think  you  have  finished?  Xow  take  care, 
Kwakiutl!  You,  Chief,  give  twenty  times  ten  pairs  more,  so  that  there 
will  be  200  more.”  Then  he  turned  to  his  tribe  and  said,  “Chiefs  of  the 
Ma'maleleqala ! Xow,  I have  said  my  words,  Chief  Walas  XEmo'gwis.” 

Then  GwaxaTag-ilis  arose  and  said:  “Your  speech,  Olskwit, is  good. 
It  pleases  my  heart.”  And  he  said  to  the  young  men:  “Go  and  bring 
200  blankets  from  my  house.”  They  went  at  once  and  brought  those 
blankets. 

Then  Ma'Xua  arose  and  counted  the  blankets.  He  called  out  how 

1 Every  tribe  has  a man  to  count  blankets.  This  office  is  not  hereditary.  When 
coppers  are  traded,  the  song  makers  count  blankets. 


Report  of  U.  S.  National  Museum,  1895. — Boas. 


Plate  7. 


Counting  Blankets. 


Report  of  U.  S.  National  Museum,  1895. — Boas. 


Plate  8. 


Counting  Blankets. 


Report  of  U.  S.  National  Museum,  1895. — Boas. 


Plate  9. 


Chief  delivering  Speech  at  Festival. 


Report  of  U.  S.  National  Museum,  1895. — Boas. 


Plate  10. 


Chief  delivering  Speech  at  Festival. 


THE  KWAKIUTL  INDIANS.  349 

many  there  were.  He  said:  “ There  are  1,200  blankets  in  a pile  here, 
chiefs  of  all  the  tribes,  wa,  wa ! ” 

Now  Olsi'wit  arose  and  said:  “Thank  you,  Kwakiutl.  Yerily,  I got 
all  I asked  for  in  my  speech  and  we  Ma'maleleqala  are  pleased, 
wa,  wa!” 

Again  Walas  NEmo'gwis  arose  and  spoke:  “Thank  you,  Owaxa/- 
lag-ilis,  thank  you,  Chief.  It  will  not  be  my  desire  if  all  the  chiefs  of 
my  tribe  ask  for  more  blankets.  I am  satisfied.”  Now  he  turned  to 
his  tribe  and  said : “ Now  we  must  speak,  my  tribe.  Arise,  G-e'g-ESLEn. 
Speak,  Chief!  Speak  more  strongly.” 

Then  G-e'g-ESLEn  arose  and  said : “ How  nice  it  is,  tribes ! I thank 
you  for  your  words,  Owaxa/lag-ilis.  Yes,  Chiefs,  that  is  our  way,  to 
which  you  must  conform.  You  were  not  provident  when  you  resolved 
to  buy  this  great  copper.  My  heart  is  well  inclined  toward  you,  Chief! 
You  have  not  finished  $ you  will  give  more.  The  price  of  the  copper 
must  correspond  to  my  greatness,  and  I ask  forty  times  ten  blankets, 
that  is  400  blankets  more,  Chief.  That  is  what  I mean,  forty.  Wa, 
Chief.  I shall  not  speak  again  if  I get  what  I ask  from  you.”  Then  he 
turned  to  his  own  tribe.  “Chief  Walas  NEmo'gwis,  I have  done  what 
you  asked  of  me.  You  asked  me  to  speak  strongly  to  that  chief,  wa,  wa !” 
Then  Owaxa/lag-ilis  arose  and  spoke.  He  said:  “Yes,  Chief,  your 
speech  was  good.  You  have  no  pity.  Have  you  finished  now  asking 
for  more,  if  I am  willing  to  give  your  chief  400  blankets  more?  Answer 
me  now!”  Now  G-e'g-ESLEn  spoke:  “ I shall  not  try  to  speak  again.” 
OwaxaTag’ilis  sent  two  young  men.  They  brought  the  blankets  and 
put  them  down.  Again  Ma/Xua  took  the  blankets  and  spoke: 

“ Ya,  tribes ! Do  you  see  now  our  way  of  buying?  The  Kwakiutl,  my 
tribe,  are  strong  when  they  buy  coppers.  They  are  not  like  you.  You 
always  bring  the  canoes  and  the  button  blankets  right  away.  Now 
there  are  1,600  blankets  in  this  pile  that  I carry  here.”  He  turned  to 
the  Kwakiutl  and  said:  “That  is  what  I say, Chiefs  of  the  Kwakiutl, 
to  those  who  do  not  know  how  to  buy  coppers.  Now  I begin  again.”  He 
counted  the  blankets  and  went  on  in  the  same  way  as  before.  As  soon 
.as  ten  pairs  of  blankets  were  counted,  they  said  aloud,  “ ten  pairs,”  and 
the  counters  said  aloud  how  many  tens  of  blankets  had  been  counted. 
When  he  had  counted  all,  Ma/Xua  spoke:  “ Wa,  wa!  Now  I say  to 
you,  chiefs  of  all  the  tribes,  it  is  really  enough!  I have  pity  upon  my 
chief.  That  is  what  I say,  chiefs.” 

Then  Owaxa/lag-ilis  arose  and  spoke:  “ Wa,  wa!  I say  it  is  enough, 
Ma'maleleqala.  Now  you  have  seen  my  name.  This  is  my  name;  this 
is  the  weight  of  my  name.  This  mountain  of  blankets  rises  through 
our  heaven.  My  name  is  the  name  of  the  Kwakiutl,  and  you  can  not  do 
as  we  do,  tribes.  When  you  do  it,  you  finish  just  as  soon  as  you  reach 
the  1,000  blankets.  Now,  look  out!  later  on  I shall  ask  you  to  buy 
from  me.  Tribes ! I do  not  look  ahead  to  the  time  when  you  will  buy 
from  me.  My  chiefs!  that  is  what  I say,  OTs’estalis;  that  is  what  X 


350 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


say,  Wa/kldis;  that  is  what  I say,  Ma/Xualagulis ; that  is  what  I say, 
Ma/Xuayalisame.  That  is  what  I say  for  all  of  you  from  whom  cop 
pers  may  be  bought,  by  the  chiefs  of  these  our  rivals,  the  Ma'maleleqala, 
Wa,  wa!” 

Then  Walas  XEmo'gwis  arose  and  spoke:  “Yes,  Chief,  your  speech 
is  true,  your  word  is  true.  Who  is  like  you,  Kwakiutl,  who  buy  coppers 
and  who  give  away  blankets.  Long  life  to  all  of  you,  chiefs  of  the 
Kwakiutl.  I can  not  attain  to  your  high  name,  great  tribes.”  Then  he 
turned  to  his  tribe  and  said:  “That  is  what  I said,  chiefs  of  the 

Ma'maleleqala,  that  we  may  beat  these  Kwakiutl.  They  are  like  a 
large  mountain  with  a steep  precipice.  Xow  arise,  Ya/qaLEnlis,  and 
speak,  Chief!  Let  me  see  you  that  I may  look  up  to  you,  Chief  ! Now 
call  your  name,  Ts’o'noqoa,  you,  Chief,  who  knows  how  to  buy  that  great 
copper.  You  can  not  be  equaled  by  anybody.  You  great  mountain 
from  which  wealth  is  rolling  down,  wa,  wa!  That  is  what  I say,  my 
tribe ! ” 

Then  Ya/qaLEnlis  arose  and  uttered  the  cry  of  TsWnoqoa:  “ho,  ho, 
ho,  ho!”  and  he  acted  as  though  he  was  lifting  the  heavy  weight  of  the 
copper  from  the  ground.  “You  all  know,  Kwakiutl,  who  I am.  My 
name  is  Ya/qaLEnlis.  The  name  began  at  the  time  when  our  world  was 
made.  I am  a descendant  of  the  chiefs  about  whom  we  hear  in  the  ear- 
liest legends.  TheHo'Xhoq  came  down  toX<yxop’a,andtookoff  his  bird 
mask  and  became  a man.  Then  he  took  the  name  Ya/qaLEnlis.  That 
was  my  ancestor,  the  first  of  the  Qoe'xsot’enox.  He  married  La/qoag-i- 
layuqoa,  the  daughter  of  Walas  XEmcVgwis,  the  first  chief  of  the  great 
clan  WewamasqEm  of  the  Ma'maleleqala.  That  is  the  reason  why  [ 
speak.  I know  how  to  buy  great  coppers.  I bought  this  copper 
Ma'xts’olEm  for  4,000  blankets.  What  is  it,  Chief!  What  is  it,  Owa- 
xa/lag-ilis!  Come!  did  you  not  give  any  thought  to  my  copper  here! 
You  always  say  that  you  are  rich,  Chief.  Xow  give  more,  that  it  may 
be  as  great  as  I am.  Give  only  ten  times  100  blankets  more,  Chief  Owa- 
xa/lag-ilis.  It  will  not  be  much,  give  1,000  more  for  my  sake,  wa,  wa. 
This  is  what  I say,  Ha/wasalaL;  that  is  what  I say,  He'Xuayus;  that 
is  what  I say,  Wawilapalaso;  that  is  what  I say  for  all  of  you,  chiefs 
of  the  Ma'maleleqala,  Wa,  wa!” 

Then  Owaxa/lag-ilis  arose  and  spoke:  “Yes,  yes,  you  are  feared  by 
all,  Great  Chief!  Do  not  show  mercy  in  your  speech.  Xow  I am  going 
to  ask  all  of  you,  chiefs  of  the  Ma'maleleqala,  will  you  stop  talking  if  I 
give  you  these  1,000  blankets  in  addition  to  the  1,600  blankets  on  this 
pile!  If  you  say  it  is  not  enough  after  I have  added  the  1,000  blankets, 
then  I Avill  not  force  the  purchase  of  the  copper. 

“Xow  answer  me,  Walas  XEmo'gwis.  I have  seen  no  one  giving 
1,000  blankets  more.  I should  tell  a lie  if  I should  say  I had  ever  seen 
it  done,  as  you  demand,  wa ! That  is  what  I say,  chiefs  of  all  the 
Kwakiutl.” 

Xow  Walas  XEmo'gwis  arose  and  spoke : “ Chiefs,  it  is  not  my  desire ; 
it  is  the  desire  of  all  those  chiefs  who  asked  for  more;  I have  enough. 


THE  KWAKIUTL  INDIANS. 


351 


Bring  now  tlie  1,000  blankets  for  which  Chief  Ya'qaLEnlis  asked,  wa, 
wa ! That  is  what  I say,  Ma'maleleqala,  wa ! ” 

Now  Owaxa/lag-ilis  sent  the  young  men  to  bring  these  1,000  blankets. 
They  brought  them  and  Ma/Xua  arose.  He  counted  the  blankets  and 
called  out  every  ten  pairs.  Then  he  made  a speech:  “Ya!  tribes, 
have  all  the  blankets  here  been  counted?”  The  people*replied,  “Yes, 
yes.  Do  not  maintain,  Chief,  that  we  lost  run  of  the  number  of  blan- 
kets.” Then  Ma/Xua  continued : “ There  are  2,600  blankets.  lama 
Maa'mtag-ila,  whose  strength  appears  when  they  buy  coppers.  Take 
care,  Chief  Owaxa/lag-ilis,  else  we  shall  be  laughed  at.  Do  not  give  in ! 
Do  not  weaken,  else  you  will  not  get  that  copper.” 

Then  Owaxa/lag-ilis  arose  and  spoke : “ Your  words  are  good,  Ma/Xua* 
It  is  good  that  you  strengthen  my  heart.  Now  speak,  Walas  NeuuV- 
gwis ! Speak,  Chief,  and  tell  me  your  wishes,  else  I shall  be  too  much 
troubled.  Now  say  your  price  and  I will  take  it.  That  is  what  I say, 
Wa'kldis;  that  is  what  I say,  Tsopa'lis,  wa,  wa!” 

OwaxaTag-ilis  sat  down,  and  the  tribes  were  silent.  Nobody  spoke, 
and  Walas  NEmo'gwis  lay  down  on  his  back,  covering  his  face  with 
his  blanket.  For  a long  time  nobody  among  all  the  men  spoke.  Then 
Yeqok’ua/lag-ilis,  the  younger  brother  of  Walas  NEmo'gwis,  arose  and 
said : “ Chiefs  of  the  Kwakiutl,  1 know  what  makes  my  brother  here 
sad.  Try,  chiefs,  that  your  speech  may  please  the  heart  of  my  chief 
here.  That  is  what  I say,  chiefs  of  the  Ma'maleleqala,  Wa,  wa ! ” 

Then  Ha'mts’it  arose  and  spoke:  “Kwakiutl,  I am  afraid  of  the  way 
in  which  my  chief  here  is  acting.  He  is  making  us  asleep  and  all  the 
tribes  are  asleep.  That  is  always  the  way  of  the  great  chief.  Now, 
Owaxa/lag-ilis,  try  to  please  him ! ” 

Then  Owaxa'lag-ilis  arose  and  said:  “Ha'mts’it!  you  said  enough. 
Too  many  are  your  words.  Let  only  him  speak  who  knows  how  to  buy 
that  copper,  Walas  NEmo'gwts ! Do  not  let  these  children  speak.  That 
is  what  I say,  Kwakiutl,  Wa,  wa ! Now  look  about  in  my  house,  if  you 
find  something  to  please  the  heart  of  this  chief.  Co!  young  men.” 
They  went,  and  soon  they  came  back  carrying  blankets,  which  they 
put  down.  Owaxa/lag-ilis  arose  at  once  and  asked  the  young  men 
how  many  blankets  they  had  brought.  They  replied:  “Six  hundred 
blankets.”  He  continued:  “Is  it  true  what  you  said?  Now,  chiefs  of 
the  Kwakiutl,  I thank  you  for  your  words.  Ma/Xua ! Chief ! count 
them!”  Ma/Xua  arose  and  counted  the  blankets.  Then  he  said:  “Ya! 
tribes,  have  you  counted  these  blankets,  also?  There  are  now  3,200. 
Look  out!  chiefs  of  the  tribes!  for  I shall  ask  you  to  buy  our  coppers 
also!  That  is  what  I say,  NEg-e';  that  is  what  I say,  E'wanuXts’e, 
wa,  wa!  that  is  what  I say,  chiefs  of  the  Kwakiutl,  wa,  wa!” 

Now  Walas  NEmo'gwis  arose  and  said:  “Now  take  care,  Ma'male- 
leqala ! Now,  I take  that  price  for  our  copper.  Now  give  the  boxes 
into  which  we  may  put  the  blankets.  We  need  50  boxes,  and  each 
will  be  worth  5 pairs  of  blankets.” 

Then  Owaxa/lag-ilis  arose  and  spoke : “ Thank  you,  W alas  NEmo'gwis, 


852 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


for  your  speech.  You  say  you  take  the  price.  Now  go,  chiefs  of  the 
Kwakiutl,  and  bring  the  boxes!  They  will  be  500  blankets’  worth,  to 
be  paid  in  canoes.”  Then  the  young  men  went  and  brought  short  split 
sticks.  They  brought  5 sticks.  Ma/Xua  took  them  and  spoke:  “Ya! 
tribes!  truly,  you  do  not  think  that  your  words  are  hard  against  Owa- 
xa/lag’ilis ? Truly,  you  get  easily  what  you  ask  for,  chiefs  of  the  Ma'ma- 
leleqala.  This  canoe  counts  for  a box  worth  150  blankets.  This  canoe 
counts  for  a box  worth  150  blankets.  This  canoe  counts  for  a box  worth 
100  blankets.  This  canoe  counts  for  a box  worth  60  blankets.  This 
canoe  counts  for  a box  worth  40  blankets,  wa,  wa!  Enough,  chiefs  of 
the  Ma'maleleqala.  Now  take  pity  on  our  chief  here.  That  is  what  I 
say,  Kwakiutl.”  Then  Owaxadag-ilis  arose  and  spoke : “ Ya,  son  Walas 
NEmo'gwis,  I think  your  heart  is  pleased.  Now  there  are  3,700  blan- 
kets. There  are  700  of  the  fourth  thousand.  Come,  Walas  NEmo'gwis, 
and  you,  chiefs,  arise,  that  I may  adorn  you.”  Then  Walas  NEino'gwis 
arose  and  spoke:  “ Come,  Ma/Xmawisaqamaye ! Come, La'bid!  Come, 
Kwa/x-ilanokume ! Come,  NEmo'kwag-ilis ! Come,  Ha/wasalaL ! Come, 
Xua/x-sistala ! Come,Olsiwit ! Come,  G'e'g^ESLEn ! Come,  Ya/qaLEnlis ! 
Come,  Wa/k*asts’e!  Come,  Ha/misalaL ! Come,  Ts’o'xts’ais ! Let  him 
who  brought  our  copper  look  at  us ! Come,  chiefs  of  the  Ma'maleleqala.” 
Then  all  the  thirteen  chiefs  stood  in  a row,  and  Walas  NEino'gwis  spoke: 
a This,  Kwakiutl,  is  the  strength  of  the  Ma'maleleqala.  These  whom  you 
see  here  are  your  rivals.  These  are  the  ones  who  have  the  great  coppers 
which  have  names,  and  therefore  it  is  hard  work  for  you  to  rival  them. 
Look  out ! chiefs  of  the  Ma'maleleqala ! in  case  they  should  bring  us  the 
copper  Ma/xts’olEm,  which  we  now  sold,  that  one  of  you  may  take  it  up 
at  once,  or  else  we  must  be  ashamed.  That  is  what  I say,  chiefs  of  the 
Ma'maleleqala,  Wa,  wa!  Now  go  on!  Chief  Owaxa'lag-ilis !”  Then 
Owaxa/lag-ihs  arose  and  spoke:  “Yes,  Walas  NEmb'gwis,  and  you 
other  good  chiefs  who  are  standing  over  there.  Now,  chiefs  of  the 
Kwakiutl,  scurry  about  in  my  house  for  something  with  which  I may 
adorn  the  chiefs.”  Then  the  young  men  went.  Soon  they  came  back, 
carrying  200  blankets  and  two  split  sticks,  on  which  five  straight  lines 
were  marked  with  charcoal. 

Then  Ma/Xua  arose,  took  the  split  sticks,  and  said:  “Thank  you, 
chiefs  of  the  Ma'maleleqala,  for  the  way  in  which  you  act.  It  must  be 
true  that  you  are  pleased  with  the  way  of  our  chief  here.  Now  listen, 
chiefs ! Adorn  yourselves  with  this  canoe,  which  is  worth  50  blankets, 
and  with  this  canoe,  which  is  also  worth  50  blankets,  and  with  these 
200  blankets  here.  Now  there  are  4,000  blankets  in  all,  Wa,  wa!  Let 
me  say,  it  is  done!” 

Immediately  Walas  NEmo'gwis  made  a speech,  and  said:  “I  take 
this  price,  tribes ! Thank  you,  Chief  Owaxa/lag-ilis;  thank  you,  Chief; 
thank  you,  Kwakiutl.” 

Now  Owaxa/lag'ilis  arose  and  spoke:  “Ya,  Walas  NEmo'gwis.  Have 
you  taken  the  price,  Chief?  ” W alas  NEmo'gwis  replied : “ I have  taken 


THE  KWAKIUTL  INDIANS. 


353 


the  price.”  u Why,  Walas  NEmo'gwis,”  said  Owaxa/lag'ilis,  u you.  take 
the  price  too  soon;  you  must  think  poorly  of  me,  Chief!  I am  a 
Kwakiutl;  I am  one  of  those  from  whom  all  your  tribes  all  over  the 
world  took  their  names.  Now  you  give  up  before  I finished  trading 
with  you,  Ma'maleleqala.  You  must  always  stand  beneath  us,  wa,  wa ! 
Now  go,  young  men;  call  our  chief  here,  that  he  may  come  and  see  the 
tribes.  Bring  La/qoag-ilaku.”  Then  the  young  men  went,  and  soon 
they  returned.  The  sister  of  Owaxa/lagulis  followed  them,  carrying 
200  blankets.  Owaxa'lag-ilis  spoke:  “Ya,  tribes,  come  here!  This  is 
La/qoag-ilak".  That  name  comes  from  the  oldest  legends.  Now,  take 
her  clothes  and  you,  Ma/Xua,  give  them  away ! ” Now  Ma/Xua  counted 
the  blankets.  There  were  200  blankets  of  the  fifth  thousand.  There 
were  4,200.  uWa,  wa!  Chiefs  of  the  Ma'maleleqala,”  said  he.  Then 
Walas  NEmo'gwis  spoke:  u Thank  you,  chiefs!  Now,  Ma/maleleqala, 
we  will  divide  the  property  to-morrow,  wa,  wTa!” 

It  was  described  above  how  a boy  is  introduced  into  the  distributions 
of  property  going  on  among  the  tribe.  It  remains  to  state  how  he 
acquires  his  first  copper.  When  the  young  man  has  acquired  a certain 
number  of  blankets,  one  of  his  older  friends  invites  him  to  take  a share 
in  the  purchase  of  one  of  the  cheaper  coppers,  which  may  have  a value 
of,  say,  500  blankets.  The  boy  contributes  200  blankets  as  his  share 
and  the  other  man  purchases  it,  announcing  the  young  man  as  his  part- 
ner in  the  transaction.  The  copper  is  delivered  to  the  young  man,  who 
becomes  a debtor  to  his  partner  for  the  amount  of  blankets  contributed 
by  the  latter.  He  announces  at  once  that  he  will  sell  the  copper  the 
following  year,  but  that  he  is  willing  to  deliver  the  copper  on  the  spot. 
With  these  words  he  lays  it  down  before  the  tribe.  One  of  the  chiefs 
of  a rival  tribe  takes  the  copper  and  pays  as  a first  installment  100 
blankets.  Then  the  boy  juomises  a distribution  of  blankets  (tso'Xua) 
for  the  following  year  and  loans  out  the  100  blankets  which  he  has 
received.  The  next  year  he  calls  in  his  outstanding  debts  and  invites  all 
the  neighboring  tribes  to  a feast,  to  which  his  own  tribe  contributes  food 
and  fuel.  In  the  course  of  the  festival  he  pays  the  chief  who  took  his 
copper  200  blankets,  being  the  value  of  the  100  blankets  received  the 
previous  year,  together  with  100  per  cent  interest  (see  p.  341).  Then 
the  quirchaser  pays  the  sum  of  750  blankets  for  the  copper,  including 
boxes  and  belt,  as  described  above.  Of  this  amount  700  are  distributed 
on  the  following  day  in  the  prescribed  fashion  among  the  neighboring 
tribes.  Now  the  young  man  proceeds  to  loan  out  his  blankets  until 
within  a few  years  he  is  able  to  repay  the  share  of  his  partner  who  first 
helped  him  to  buy  the  copper.  When  the  time  has  come  for  this  trans- 
action, his  partner  pays  him  double  the  amount  of  what  he  (the  partner) 
has  contributed,  and  the  young  man  returns  to  him  double  of  this 
amount. 

The  rivalry  between  chiefs  and  clans  finds  its  strongest  expression 
in  the  destruction  of  property.  A chief  will  burn  blankets,  a canoe,  or 
NAT  MTJS  95 23 


354  REPORT  OF  NATIONAL  MUSEUM,  1895. 

break  a copper,  thus  indicating  his  disregard  of  the  amount  of  property 
destroyed  and  showing  that  his  mind  is  stronger,  his  power  greater, 
than  that  of  his  rival.  If  the  latter  is  not  able  to  destroy  an  equal 
amount  of  property  without  much  delay,  his  name  is  “ broken.’7  He  is 
vanquished  by  his  rival  and  his  influence  with  his  tribe  is  lost,  while 
the  name  of  the  other  chief  gains  correspondingly  in  renown. 

Feasts  may  also  be  counted  as  destruction  of  property,  because  the 
food  given  can  not  be  returned  except  by  giving  another  feast.  The 
most  expensive  sort  of  feast  is  the  one  at 
which  enormous  quantities  of  fish  oil  (made 
of  the  oulachon)  are  consumed  and  burnt, 
the  so-called  u grease  feast.”  Therefore  it 
also  raises  the  name  of  the  person  who  can 
afford  to  give  it,  and  the  neglect  to  speedily 
return  it  entails  a severe  loss  of  prestige. 
Still  more  feared  is  the  breaking  of  a valu- 
able copper.  A chief  may  break  his  copper 
and  give  the  broken  parts  to  his  rival.  If 
the  latter  wants  to  keep  his  prestige,  he 
must  break  a qopper  of  equal  or  higher 
value.,  and  then  return  both  his  own  broken 
copper  and  the  fragments  which  he  has 
received  to  his  rival.  The  latter  may  then 
pay  for  the  copper  which  he  has  thus  re- 
ceived. The  chief  to  whom  the  fragments 
of  the  first  copper  are  given  may,  however, 
also  break  his  copper  and  throw  both  into 
the  sea.  The  Indians  consider  that  by  this 
act  the  attacked  rival  has  shown  himself 
superior  to  his  aggressor,  because  the  latter 
may  have  expected  to  receive  the  broken 
copper  of  liis  rival  in  return  so  that  an 
actual  loss  would  have  been  prevented. 

In  by  far  the  greater  number  of  cases 
where  coppers  are  broken  the  copper  is 
preserved.  The  owner  breaks  or  cuts  off 
one  part  after  the  other  until  finally  only 
the  T-shaped  ridge  remains.  This  is  valued  at  two-thirds  of  the  total 
value  of  the  copper  and  is  the  last  part  to  be  given  away.  The  order  in 
which  the  parts  of  the  copper  are  usually  broken  off  is  shown  in  the 
accompanying  illustration  (fig.  4).  The  rival  to  whom  the  piece  that 
has  been  broken  off  is  given,  breaks  off  a similar  piece,  and  returns  both 
to  the  owner.  Thus  a copper  may  be  broken  up  in  contests  with 
different  rivals.  Finally,  somebody  succeeds  in  buying  up  all  the 
broken  fragments,  which  are  riveted  together,  and  the  copper  has 
attained  an  increased  value.  Since  the  broken  copper  indicates  the 
fact  that  the  owner  has  destroyed  property,  the  Indians  pride  them- 
selves upon  their  possession  (see  Plates  11  and  12). 


Fig.  4. 

COPPER  PLATE. 

The  order  in  which  the  sections  are 
broken  off  and  thrown  away  is 
indicated  by  the  letters  (a—d). 


Report  of  U S.'Nationai  Museum,  1 895.  — Boas. 


Plate  11. 


Chief  holding  Broken  Copper. 


Report  of  U,  S.  National  Museum,  1895. — Boas. 


Plate  12. 


Chieftainess  holding  Broken  Copper. 


THE  KWAKIUTL  INDIANS. 


355 


The  rivalry  between  chiefs,  when  carried  so  far  that  coppers  are 
destroyed  and  that  grease  feasts  are  given  in  order  to  destroy  the 
prestige  of  the  rival,  often  develop  into  open  enmity.  When  a person 
gives  a grease  feast,  a great  fire  is  lighted  in  the  center  of  the  house. 
The  flames  leap  up  to  the  roof  and  the  guests  are  almost  scorched  by 
the  heat.  Still  the  etiquette  demands  that  they  do  not  stir,  else  the 
host’s  fire  has  conquered  them.  Even  when  the  roof  begins  to  burn 
and  the  fire  attacks  the  rafters,  they  must  appear  unconcerned.  The 
host  alone  has  the  right  to  send  a man  up  to  the  roof  to  put  out  the  fire. 
While  the  feast  is  in  progress  the  host  sings  a scathing  song  ridiculing 
his  rival  and  praising  his  own  clan,  the  feats  of  his  forefathers  and  his 
own.  Then  the  grease  is  filled  in  large  spoons  and  passed  to  the  rival 
chief  first.  If  a person  thinks  he  has  given  a greater  grease  feast  than 
that  offered  by  the  host,  he  refuses  the  spoon.  Then  he  runs  out  of 
the  house  (g-e/qEmx’it= chief  rises  against  his  face)  to  fetch  his  copper 
“to  squelch  with  it  the  fire.”  The  host  proceeds  at  once  to  tie  a cop- 
per to  each  of  his  house  posts.  If  he  should  not  do  so,  the  person  who 
refused  the  spoon  would  on  returning  strike  the  posts  with  the  copper, 
which  is  considered  equal  to  striking  the  chief’s  face  (kn'lxa).  Then 
the  man  who  went  to  fetch  his  copper  breaks  it  and  gives  it  to  the  host. 
This  is  called  “squelching  the  host’s  fire.”  The  host  retaliates  as 
described  above. 

The  following  songs  show  the  manner  in  which  rivals  scathe  each 
other. 

First  iNEqa/pEnk*Em  (=ten  fathom  face)  let  his  clan  sing  the  follow- 
ing song  at  a feast  which  he  gave: 1 

1.  Our  great  famous  chief  is  known  even  outside  of  our  world,  oh ! he  is  the 
highest  chief  of  all.  [Then  he  sang:]  The  chiefs  of  all  the  tribes  are  my  servants, 
the  chiefs  of  all  the  tribes  are  my  speakers.  They  are  pieces  of  copper  which  I have 
broken. 

[The  people:]  Do  not  let  our  chief  rise  too  high.  Do  not  let  him  destroy  too 
much  property,  else  we  shall  be  made  like  broken  pieces  of  copper  by  the  great 
breaker  of  coppers,  the  great  splitter  of  coppers,  the  great  chief  who  throws  cop- 
pers into  the  water,  the  great  one  who  can  not  he’  surpassed  by  anybody,  the  one 
surmounting  all  the  chiefs.  Long  ago  you  went  and  burnt  all  the  tribes  to  ashes. 
You  went  and  defeated  the  chief  of  all  the  tribes]  you  made  his  people  run  away 
and  look  for  their  relatives  whom  you  had  slain.  You  went  and  the  fame  of  your 
power  was  heard  among  the  northern  tribes.  You  went  and  gave  blankets  to  every- 
body, chief  of  all  tribes. 

2.  Do  not  let  us  stand  in  front  of  him,  of  whom  we  are  always  hearing,  even  at 
the  outermost  limits  of  this  world.  Do  not  let  us  steal  from  our  chief,  tribes  ! else 
he  will  become  enraged  and  will  tie  our  hands.  He  will  hang  us,  the  chief  of  the 
tribes. 

[Neqa/pEnk'Ein  sings :]  Do  not  mind  my  greatness.  My  tribe  alone  is  as  great 
as  four  tribes.  I am  standing  on  our  fortress ; I am  standing  on  top  of  the  chiefs  of 
the  tribes.  I am  Copper  Face,  Great  Mountain,  Supporter,  Obstacle;  my  tribes  are 
my  servants. 

At  another  feast  he  let  his  people  sing:2 

1.  Do  not  look  around,  tribes!  do  not  look  around,  else  we  might  see  something 
that  will  hurt  us  in  the  great  house  of  this  really  great  chief. 


See  Appendix,  page  667. 


See  Appendix,  page  668. 


356 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


2.  “Do  not  look  around,  tribes  ! do  not  look  around,  else  we  might  see  something 
formidable  in  the  great  house  of  this  really  great  chief.  His  house  has  the 
TsVnoqoa.1 2  Therefore  we  are  benumbed  and  can  not  move.  The  house  of  our 
double  chief,3  of  the  really  great  chief,  is  taking  our  lives  and  our  breath/7 

3.  “Do  not  make  any  noise,  tribes  ! do  not  make  any  noise,  else  we  shall  precipi- 
tate a landslide  of  wealth  from  our  chief,  the  overhanging  mountain/7 

4.  [Neqa/pEnk'Em  sings :]  “I  am  the  one  from  whom  comes  down  and  from  whom  is 
untied  the  red  cedar  bark3  for  the  chiefs  of  the  tribes.  Do  not  grumble,  tribes!  do 
not  grumble  in  the  house  of  the  great  double  chief,  who  makes  that  all  are  afraid  to 
die  at  his  hands,  over  whose  body  is  sprinkled  the  blood  of  all  those  who  tried  to 
eat  in  the  house  of  the  double  chief,4  of  the  really  great  chief.  Only  one  thing 
enrages  me,- when  people  eat  slowly  and  a little  only  of  the  food  given  by  the  great 
double  chief.77 

While  these  songs  are  merely  a praise  of  the  deeds  of  the  singer,  the 
following  reply  by  He'nak-alaso,  the  rival  of  NEqa/pEnk-Em  is  bitter  to 
the  extreme.  In  it  the  singer  ridicules  him  for  not  yet  having  returned 
a grease  feast.5 

1.  I thought  another  one  was  causing  the  smoky  weather?  I am  the  only  one  on 
earth — the  only  one  in  the  world  who  makes  thick  smoke  rise  from  the  beginning 
of  the  year  to  the  end,  for  the  invited  tribes. 6 

2.  What  will  my  rival  say  again — that  ' spider  woman;7  what  will  he  pretend  to 
do  next?  The  words  of  that  'spider  woman7  do  not  go  a straight  way.  Will  he  not 
brag  that  he  is  going  to  give  away  canoes,  that  he  is  going  to  break  coppers,  that 
he  is  going  to  give  a grease  feast?  Such  will  be  the  words  of  the  ' spider  woman,7 
and  therefore  your  face  is  dry  and  moldy,  you  who  are  standing  in  front  of  the 
stomachs  of  the  chiefs. 

3.  Nothing  will  satisfy  you;  but  sometimes  I treated  you  so  roughly  that  you 
begged  for  mercy.  Do  you  know  what  you  will  be  like?  You  will  be  like  an  old 
dog,  and  you  will  spread  your  legs  before  me  when  I get  excited.  You  did  so  when  I 
broke  the  great  coppers  ' Cloud 7 and  ' Making  Ashamed,7  my  great  property  and  the 
great  coppers,  ' Chief7  and  ' Killer  Whale,7  and  the  one  named  ' Point  of  Island7  and 
'The  Feared  One7  and  'Beaver.7  This  I throw  into  your  face,  you  whom  I always 
tried  to  vanquish;  whom  I have  maltreated;  who  does  not  dare  to  stand  erect  when 
I am  eating;  the  chief  whom  even  every  weak  man  tries  to  vanquish. 

4.  Now  my  feast ! Go  to  him,  the  poor  one  who  wants  to  be  fed  from  the  son  of 
the  chief  whose  own  name  is  ' Full  of  Smoke7  and  ' Greatest  Smoke/  Nevermind; 
give  him  plenty  to  eat,  make  him  drink  until  he  will  be  qualmish  and  vomits.  My 
feast  steps  over  the  fire  right  up  to  the  chief.7 

In  order  to  make  the  effect  of  the  song  still  stronger,  an  effigy  of  the 
rival  chief  is  sometimes  placed  near  the  fire.  He  is  lean,  and  is  repre- 
sented in  an  attitude  as  though  begging  that  the  fire  be  not  made  any 
hotter,  as  it  is  already  scorching  him  (Plate  13). 

Property  may  not  only  be  destroyed  for  the  purpose  of  damaging  the 

1 A fabulous  monster.  See  page  372. 

2 The  war  chief  and  potlatch  chief. 

3 The  emblem  of  the  winter  ceremonial.  See  page  435. 

4 This  refers  to  the  fact  that  he  killed  a chief  of  the  Awfk^enox  in  a feast. 

5 See  Appendix,  page  669. 

6 Namely,  by  the  fire  of  the  grease  feast. 

7 The  first  grease  feast  went  as  far  as  the  center  of  the  house.  As  NEqa/pEnk’Em 
did  not  return  it,  the  second  one  stenned  forward  across  the  fire  right  up  to  him. 


Report  of  U.  S.  National  Museum,  1895.-  Boas. 


Plate  13. 


Image  representing  the  Rival  Chief. 
From  A.  Bastian,  “ Northwest  Coast  of  America.” 
Original  in  Royal  Ethnographical  Museum,  Berlin. 


/ e 


Report  of  U.  S.  National  Museum,  1895.  — Boas. 


Plate  14. 


HOUSEPOSTS  REPRESENTING  ANIMALS  HOLDING  COPPERS. 


THE  KWAKIUTL  INDIANS. 


357 


prestige  of  the  rival,  but  also  for  the  sole  purpose  of  gaining  distinc- 
tion. This  is  done  mainly  at  the  time  when  houses  are  built,  when 
totem  poles  are  erected,  or  when  a son  has  been  initiated  by  the  spirit 
presiding  over  the  secret  society  of  his  clan,  to  which  ceremony  refer- 
ence has  previously  been  made.  It 
seems  that  in  olden  times  slaves  were 
sometimes  killed  and  buried  under 
the  house  posts  or  under  totem  posts. 

Later  on,  instead  of  being  killed,  they 
were  given  away  as  presents.  When- 
ever this  was  done,  the  inverted  figure 
of  a man,  or  an  inverted  head,  was 
placed  on  the  pole.  In  other  cases 
coppers  were  buried  under  the  posts, 
or  given  away.  This  custom  still  con- 
tinues, and  in  all  such  cases  coppers 
are  shown  on  the  post,  often  in  such 
a way  that  they  are  being  held  or 
bitten  by  the  totem 
animals  (Plate  14).  At 
the  time  of  the  initia- 
tion of  a member  of 
the  clan  slaves  were 
also  killed  or  coppers 
were  destroyed,  as 
will  be  described  in 
greater  detail  later  on. 

The  property  thus 
destroyed  is  called  the 
o’mayti,  the  price  paid 
for  the  house,  the 
post,  or  for  the  initi- 
ation. 

The  distribution  or 
destruction  of  prop- 
erty is  not  always 
made  solely  for  the 
purpose  of  gaining 
prestige  for  one’s  self, 
but  it  is  just  as  often 
made  for  the  benefit  of 
the  successor  to  the 
name.  In  all  such  cases  the  latter  stands  during  the  festival  next  to  the 
host,  or,  as  the  Indian  terms  it,  in  front  of  him,  and  the  chief  states  that 
the  property  is  distributed  or  destroyed  for  the  one  u standing  in  front  of 
him”  (Lawu/lqame),  which  is  therefore  the  term  used  for  the  chief’s 
eldest  son,  or,  in  a more  general  sense,  for  the  heir  presumptive. 


Fig.  5. 

POTLATCH  MASK  OF  THE  K"KWA'KUM. 

Double  mask  capable  of  being  opened  and  closed  by  means  of  strings, 
(a)  Outer  view,  representing  the  ancestor  in  an  angry  state  of  mind, 
vanquishing  his  rivals,  (b)  The  mask  opened,  representing  the 
ancestor  in  a pleasant  state  of  mind,  distributing  property. 

IV  A,  No.  1243,  Royal  Ethnographical,  Museum  Berlin.  Collected  by  A.  Jacobsen. 


358 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


At  all  these  festivals  masks  are  occasionally  worn  which  represent 
the  ancestor  of  the  clan  and  refer  to  its  legend.  I will  give  one  exam- 
ple: In  the  potlatch  of  the  clan  K"kwa/kum  of  the  QVmoyue,  a mask 
representing  one  of  the  forefathers  of  the  present  clan  (not  their  first 
ancestor),  whose  name  was  NoTis  or  Wa'tse  appears, — a double  mask, 
surmounted  by  a bear  (fig.  5).  The  bear  broke  the  dam  which  pre- 
vented the  property  of  Nodis  going  up  the  river.  The  outer  mask 
shows  ISodis  in  a state  of  rage  vanquishing  his  rivals $ the  inner  side 
shows  him  kindly  disposed,  distributing  property  in  a friendly  way. 
His  song  is  as  follows : 1 

1.  A bear  is  standing  at  the  river  of  the  Wanderer  who  traveled  all  over  the 

world. 

2.  Wild  is  the  bear  at  the  river  of  the  Wanderer  who  traveled  all  over  the  world. 

3.  A dangerous  fish  is  going  up  the  river.  It  will  put  a limit  to  the  lives  of  the 

people. 

4.  Ya!  The  sl'siui/2  is  going  up  the  river.  It  will  put  a limit  to  the  lives  of  the 

people. 

5.  Great  things  are  going  up  the  river.  It  is  going  up  the  river  the  copper  of  the 

eldest  brother  of  our  tribes. 

Another  song  used  in  these  festivals  is  as  follows:3 

1.  The  heat  of  the  chief  of  the  tribes  will  not  have  mercy  upon  the  people. 

2.  The  great  tire  of  our  chief  in  which  stones4  are  glowing  will  not  have  mercy 

upon  the  people. 

3.  You,  my  rival,  will  eat  what  is  left  over  when  1 dance  in  my  grease  feast,  when 

I,  the  chief  of  the  tribes,  perform  the  fire  dance. 

4.  Too  great  is,  what  you  are  doing,  our  chief.  Who  equals  our  chief!  He  is  giv- 

ing feasts  to  the  whole  world. 

5.  Certainly  he  has  inherited  from  his  father  that  he  never  gives  a small  feast  to 

the  lower  chiefs,  the  chief  of  the  tribes. 

The  clan  Haa/naLino  have  the  tradition  that  their  ancestor  used  the 
fabulous  double-headed  snake  for  his  belt  and  bow.  In  their  potlatches 
the  chief  of  the  gens  appears,  therefore,  dancing  with  a belt  of  this 
description  and  with  a bow  carved  in  the  shape  of  the  double-headed 
snake.  The  bow  is  simply  a long  carved  and  painted  stick  to  which  a 
string  running  through  a number  of  rings  and  connecting  with  the 
horns  and  tongues  of  the  snake  is  attached.  When  the  string  is  pulled, 
the  horns  are  erected  and  the  tongues  pulled  out.  When  the  string  is 
slackened,  the  horns  drop  down  and  the  tongues  slide  back  again 
(Plate  15). 

IV.  Marriage. 

Marriage  among  the  Kwakiutl  must  be  considered  a purchase,  which 
is  conducted  on  the  same  principles  as  the  purchase  of  a copper.  But 
the  object  bought  is  not  only  the  woman,  but  also  the  right  of  member- 
ship in  her  clan  for  the  future  children  of  the  couple.  I explained 


1 See  Appendix,  page  670. 

2 See  page  371. 

3 See  Appendix,  page  671 . 

4 Stones  heated  in  the  fire  for  boiling  the  food  to  be  used  in  the  feast. 


Report  of  U.  S.  National  Museum,  1895. — Boas. 


Plate  15. 


Dance  of  the  Chief  of  the  Haa'nalino  Clan. 


THE  KWAKIUTL  INDIANS. 


359 


before  that  many  privileges  of  the  clan  descend  only  through  marriage 
upon  the  son-in-law  of  the  possessor,  who,  however,  does  not  use  them 
himself,  but  acquires  them  for  the  use  of  his  successor.  These  privi- 
leges are,  of  course,  not  given  as  a present  to  the  son-in-law,  but  he 
becomes  entitled  to  them  by  paying  a certain  amount  of  property  for 
his  wife.  The  wife  is  given  to  him  as  a first  installment  of  the  return 
payment.  The  crest  of  the  clan,  its  privileges,  and  a considerable 
amount  of  other  property  besides,  are  given  later  on,  when  the  couple 
have  children,  and  the  rate  of  interest  is  the  higher  the  greater  the  num- 
ber of  children.  For  one  child,  200  per  cent  of  interest  is  paid ; for 
two  or  more  children,  300  per  cent.  After  this  payment  the  marriage 
is  annulled,  because  the  wife’s  father  has  redeemed  his  daughter.  If 
she  continues  to  stay  with  her  husband,  she  does  so  of  her  own  free 
will  (wule'L,  staying  in  the  house  for  nothing).  In  order  to  avoid  this 
state  of  affairs,  the  husband  often  makes  a new  payment  to  his  father- 
in-law  in  order  to  have  a claim  to  his  wife. 

The  law  of  descent  through  marriage  is  so  rigid  that  methods  have 
developed  to  prevent  the  extinction  of  a name  when  its  bearer  has  no 
daughter.  In  such  a case  a man  who  desires  to  acquire  the  use  of  the 
crest  and  the  other  privileges  connected  with  the  name  performs  a 
sham  marriage  with  the  son  of  the  bearer  of  the  name  (Xue'sa;  Xew- 
ettee  dialect : da/xsitsEnt= taking  hold  of  the  foot).  The  ceremony  is 
performed  in  the  same  manner  as  a real  marriage.  In  case  the  bearer 
of  the  name  has  no  children  at  all,  a sham  marriage  with  a part  of  his 
body  is  performed,  with  his  right  or  left  side,  a leg  or  an  arm,  and  the 
privileges  are  conveyed  in  the  same  manner  as  in  the  case  of  a real 
marriage. 

It  is  not  necessary  that  the  crest  and  privileges  should  be  acquired 
for  the  son  of  the  person  who  married  the  girl,  but  they  may  be  trans- 
ferred to  his  successor,  whoever  that  may  happen  to  be. 

As  the  acquisition  of  the  crest  and  privileges  connected  with  it 
play  so  important  a part  in  the  management  of  marriages,  references 
to  the  clan  traditions  and  dramatic  performances  of  portions  of  the 
myth  are  of  frequent  occurrence,  as  may  be  seen  from  the  following 
descriptions: 

I will  describe  first  the  marriage  of  a Mahnaleleqala  Chief. 

XEmo'kulag-ilists’e  called  all  the  young  men  of  all  the  tribes  to 
come  to  his  house.  After  a second  call  all  the  young  men  came.  Then 
he  arose  and  spoke:  u Thank  you,  my  brothers,  for  coming  to  my 
house.  You  know  what  is  in  my  mind — that  I want  to  marry  to-day. 
You  know  that  I wanted  you  to  come  that  I might  ask  my  brothers  to 
invite  all  the  people.  Xow  dress  yourselves;  there  is  the  paint  and 
the  eagle  down.” 

The  La/g-us  arose  and  spoke:  u Yes,  XEmo'kulagulists’e,  these  are 
your  words.  I and  my  friends  will  go  now  to  make  war  upon  the  daugh- 
ters of  all  the  chiefs  all  over  the  world.  Xow  take  care,  my  friends! 


360 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


young  chiefs  of  all  the  tribes;  paint  yourselves  and  put  doAvn  on  your 
heads.”  Then  the  young  men  painted  themselves  and  put  down  on 
their  heads,  and  went  out  to  the  north  end  of  the  village.  First  they 
went  into  the  house  of  Ha/inasaqa.  As  soon  as  they  had  entered 
they  all  said,  “ Listen!”  and  La'g-us  spoke:  “Hear  me,  tribes!  go  and 
help  to  bring  my  bride  into  my  house.”  Here  he  stopped,  and  one  of 
the  men  living  in  the  house  said:  “ We  will  do  so.”  Now  they  went 
from  house  to  house  and  spoke  in  the  same  way.  Then  they  all  went 
back  into  the  house  of  NEmo'kulag-ilists’e.  Then  they  went  at  once 
to  call  the  tribes,  and  they  all  came.  Now  Walas  NEmo'gwis  spoke: 
“Come,  chiefs  of  all  the  tribes,  to  hear  the  words  of  our  chief.  We 
will  make  war  upon  the  tribes.  Something  great  is  in  the  door  of  the 
house  of  our  future  wife.  That  is  all.”  Then  Walas  NEmo'gwis 
counted  the  blankets  and  the  counters  kept  tally.  When  200  were 
counted,  he  said:  “We  pay  for  our  wife  these  200  blankets  here.” 
Then  he  counted  100  blankets  more,  and  said:  “With  these  100  blan- 
kets we  will  lift  her.  We  must  lift  a heavy  weight  for  the  son  of 
La/lawig-ila.”  All  the  men  replied:  “True,  true  are  your  words,  chief.” 
Walas  NEmo'gwis  counted  100  blankets  more, and  said:  “These  are 
intended  for  calling  our  wife.  Wa,  chiefs  ! there  are  400  blankets  here, 
by  means  of  which  we  are  trying  to  get  the  daughter  of  La/lawig-ila.” 
Then  HeYamas  arose  and  spoke:  “Yes,  son,  your  speech  js  good. 
All  our  tribes  heard  what  you  said.  Now  take  care,  else  a mistake 
might  be  made.  Thus  I say,  chiefs  of  all  the  tribes.  Now  arise, 
la'qoLas,  and  you,  Ma/Xmawisaqamae,  and  you,  Ya/qaLEnlis,  and  you, 
Ma/Xuayalits’e ; we  want  to  go  to  war  now.  Now  ask  if  it  is  all 
right.”  They  gave  them  each  a single  blanket  to  wear.  Then  these 
four  men  arose  and  went  to  the  house  of  La/lawig-ila.  They  sat  down 
in  the  doorway,  and  i;a/qoLas  spoke:  “We  come,  chief,  to  ask  you 
about  this  marriage.  Here  are  400  blankets  ready  for  you.  Now  we 
are  ready  to  take  our  wife.  That  is  all.” 

Then  spoke  La/lawig-ila:  “Call  my  future  son-in-law,  that  he  may 
come  for  his  wife;  but  let  him  stay  on  the  beach.  You  all  shall  stay 
there;  only  the  blankets  shall  come  into  my  house.”  Then  Ya/qaLEnlis 
spoke:  “ Thank  you,  Chief,  for  your  words.  Now  let  us  tell  our  chief.” 
Then  they  went  to  the  house  of  NEmo'kulag-iiists’e.  They  went  in,  and 
Tu'qoLas  told  the  answer  of  La/lawig-ila  to  the  chiefs  of  all  the  tribes, 
saying:  “He  told  us  to  come  soon  to  take  our  wife.”  Then  all  the 
young  men  took  the  blankets.  They  put  them  on  the  shoulder  of  other 
young  men  and  all  walked  out.  They  put  the  blankets  down  on  the 
beach.  Then  HeTamas  arose  and  spoke:  “All  the  tribes  came;  I 
came,  La/lawig-ila,  to  take  from  your  arms  your  daughter  to  be  my 
wife.  Now  count  the  blankets  which  we  brought.” 

Then  Walas  NEmo'gwis  arose.  He  took  the  blankets  and  spoke: 
“ Yes,  chiefs  of  all  the  tribes,  I am  not  ashamed  to  tell  about  these 
blankets.  My  grandfather  was  a rich  man.  Therefore  I am  not 


THE  KWAKIUTL  INDIANS. 


361 


ashamed  to  speak.”  “True,  true!”  said  all  the  men,  “who  would  gain- 
say it,  Chief !”  Walas  NEmo'gwis  counted  the  blankets.  When  five 
pairs  of  blankets  were  counted,  he  put  them  on  the  shoulder  of  one  of 
the  four  men,  who  carried  them  into  the  house  of  La/lawigdla.  Thus 
they  did  until  200  blankets  were  counted  and  carried  into  the  house. 
He  said:  “With  these  blankets  they  are  married.  Now  we  will  try  to 
lift  our  wife  from  the  floor.”  He  took  the  blankets  and  said:  “With 
these  we  lift  her  from  the  floor.”  He  counted  again  five  pairs,  put 
them  on  the  shoulder  of  one  of  the  young  men,  who  carried  them  into 
the  house,  until  100  were  counted.  Then  Walas  NEmo'gwis  said: 
“There  are  100,  as  we  told  you,  chiefs!  Now  we  will  call  our  wife.” 
He  took  a blanket  and  said:  “ We  call  her  with  these,”  and  counted  in 
the  same  manner  as  before.  When  100  blankets  had  been  counted,  he 
said : “ There  are  100  blankets  here.”  When  the  four  men  had  carried 
all  into  the  house  of  La/lawig-ila,  he  came  out  and  said:  “ That  is  what 
I wished  for.  All  the  tribes  came  to  marry  my  daughter.  Let  my  son- 
in  law  hear  it.  He  shall  come  into  my  house  if  his  heart  is  strong 
enough,  wa  wa!”  As  soon  as  his  speech  was  finished,  eight  men 
brought  burning  torches  of  cedarwood.  Four  stood  on  the  right-hand 
side  of  the  door  and  four  on  the  left  hand  side.  They  put  the  burning 
ends  of  the  torches  close  together,  just  wide  enough  apart  for  a man  to 
pass  through. 

Now  Ma/Xua  arose.  He  was  to  pass  through  the  fire.  He  ran  up 
to  it,  but  as  soon  as  he  came  near  it,  he  became  afraid  and  turned  back. 
Now  he  called  NEmo'kulag-ilists’e : “ Hear  it ! his  heart  must  be  strong 
if  he  wants  to  accomplish  what  I attempted  in  vain.”  NEmokula- 
g-ilists’e  arose  and  said:  “ Yes, Ma/Xua,  your  word  is  true.  Now  look 
out,  chiefs ! else  we  shall  not  get  my  wife  and  I shall  be  ashamed  of  it. 
That  is  the  legend  which  my  father  told  me,  how  the  daughter  of 
Nu/nemasEqa  was  married  at  j^a/Saxsdalis.  A fire  was  at  the  door  of 
her  house.  Now  arise,  La/LiliLa,  take  two  pairs  of  blankets  and  give 
them  to  him  whose  heart  is  strong,  else  our  friends  will  try  in  vain  to 
get  my  wife.”  Then  La/LiliLa  arose,  took  the  blankets  and  carried 
them  to  Walas  NEmo'gwis,  who  spoke:  “Tribes ! Let  him  whose  heart 
is  strong  go  up  to  that  house.  These  two  pairs  of  blankets  are  for  him 
who  will  go  there.”  Then  Ma'Xuag-ila  the  Koskimo  arose  and  spoke: 
“I  am  not  frightened.  I am  LEflpela.  This  name  comes  from  the  oldest 
legend.  He  knew  how  to  jump  into  the  fire.  Now  I will  go,  you  beat 
the  boards !”  As  soon  as  the  men  began  to  beat  the  boards  he  ran  up 
to  the  fire,  and  although  the  torches  were  close  together,  he  ran  through 
them  into  the  house.  He  was  not  hurt.  When  he  got  into  the  house, 
NEmo'kulag-ilists’e  said : “ Ho,  ho,  ho,  ho.  He  has  succeeded ! Thank 
you,  my  tribe.”  As  soon  as  MaXuag-ila  had  entered  the  house  the  fire 
disappeared.  La/Lawig-ila  came  out  and  spoke:  “Gome  now  and  take 
your  wife,  son  in-law!”  They  brought  out  blankets  and  La/Lawig-ila 
said : “Now  I give  you  a small  gift,  son-in-law.  Sell  it  for  food.  There 


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REPORT  OF  NATIONAL  MUSEUM,  1895. 


are  200  blankets.”  Then  Walas  XEmo'gwis  arose:  “Don’t  sit  down, 
tribes.  Let  us  sing  a song  of  joy!  Take  care,  chiefs  of  the  Ma'male- 
leqala,  we  will  make  fun  of  the  Kwakiutl.  My  chief  has  again  given 
blankets.  The  name  of  my  tribe  is  Ma'maleleqala,  who  vanquish  all. 
I am  feared  by  all  the  tribes.  I can  not  be  lifted.  I know  how  to  buy 
great  coppers.  I make  chiefs  out  of  poor  men.  Whenever  I give 
away  blankets,  I do  so  in  Tsa/xis  on  account  of  the  legend  of  Ma/lele- 
qala,  who  was  first  transformed  into  a man  at  this  place.” 

Thus  spoke  Walas  XEmo'gwis  and  all  arose  and  sang: 

1.  The  deer  went  on  the  water,  and  tried  to  make  war  on  his  younger  brother. 

2.  Kuekuaxa/oe  gave  np  the  chase,  trying  to  make  war  on  his  younger  brother. 

3.  Only  I do  this  way.  Only  I am  the  great  one  who  takes  away  the  daughter  of 

chiefs,  the  younger  brother  of  Kuekuaxa/oe. 

When  they  stopped  singing,  XEmo'kulag-ilists’e  said,  “Ho,  ho,  ho, 
ho,”  and  he  promised  to  give  away  blankets.  He  said:  “These  are 
blankets  for  you,  Gue'tEla;  blankets  for  you,  QWmoyue;  blankets  for 
you,  Walas  Kwakiutl ; blankets  for  you,  Q’b'iuk-utis.  They  belong 
to  T;a/qoaqa,  the  daughter  of  XEino'kulag-ilists’e,”  and  he  said,  “Now 
go  to  take  my  wife  and  the  blankets.” 

Then  the  men  went  to  the  house  of  La/lawigdla,  and  after  a short 
time  they  came  back.  Ts’a/ts’alkoalis,  his  daughter,  was  among  them. 
Then  all  the  men  went  home.  He  did  not  give  away  the  blankets  at 
once.  She  went  to  live  with  her  husband. 

Here  is  the  description  of  another  marriage : The  successor  of  Ma/Xua, 
chief  of  the  Gua'ts’enox,  was  engaged  to  marry  He'nEdemis,  daughter 
of  Ya'qaLasame,  chief  of  the  Qo'sqemuX.  Then  Ma'Xua  sent  four 
men — Kasa/lis,  A'wite,  XEme’malas,  and  Ya/Side— to  ask  if  Ya'qaua- 
same  agreed  to  the  marriage.  As  soon  as  the  four  men  entered  his 
house,  Kasa/lis  spoke : “ I come,  chief!  sent  to  you  by  the  son  of  Ma'Xua. 
He  has  400  blankets  ready  to  be  given  to  you  to  buy  in  marriage  your 
daughter,  and  also  to  take  home  your  daughter,  Ya'qaLasaine.  We 
beg  of  you,  O,  Chief!  to  bend  your  heart  to  our  wishes,  for  you  have 
nothing  to  complain  of.  We  all  are  of  one  descent.  We  are  sent  by 
your  uncle,  chief,  and  by  your  great-grandson,  the  successor  to  Ma/Xua. 
Thus  I say,  XEme’malas.  Xow  we  have  said  our  speech,  A'wite,  Ya/Side. 
Xow,  A'wite,  you  speak  to  our  uncle  here.”  Then  A'wite  spoke:  “Let 
me  speak  next,  Kasa/lis.  I came,  sent  as  a messenger  by  your  uncle. 
Let  us  try  to  get  our  relative.  Xow,  Ya/gide,  you  speak  next.”  He 
said:  “I  am  the  double-headed  snake.1  There  is  nothing  in  the  world 
that  I am  unable  to  obtain.  Xow  move  your  tongue,  and  give  us  an 
answer.” 

Then  Ya'qaLasame  spoke:  “You  have  finished  your  speeches  that 
you  were  to  deliver  to  me,  chiefs  of  the  Gua/ts’enox.  Only  let  your 
tribe  take  care,  A'wite.  Xow  you  may  have  my  daughter.  Come  here 
to-morrow,  but  strengthen  your  hearts.  Xow  go  and  tell  Chief  Ma/Xua 


1 See  page  371. 


THE  KWAKIUTL  INDIANS. 


363 


tliat  I will  show  my  legend — the  fire  in  the  house.  If  you  do  not  ruu 
away  from  the  heat  of  my  fire,  you  may  have  my  daughter.  Now  go, 
masters !” 

Then  the  four  men  left  the  house.  They  went  and  reported  the 
words  of  Ya'qaLasame  to  Ma/Xua,  who  prayed  his  tribe  not  to  fear 
the  fire. 

As  soon  as  they  had  left,  Ya'qaLasame  carved  a large  mask  repre- 
senting the  “Sea  Bear,”  the  mouth  of  which  opened,  and  attached  it 
to  a bearskin  which  his  dancer  was  to  wear.  Then  he  took  a basket 
and  went  to  the  graveyard,  where  he  took  seven  skulls  and  other  bones, 
which  he  carried  home  in  his  basket.  Then  he  opened  the  mouth  of  the 
bear  mask  and  put  the  skulls  and  the  other  bones  into  it.  Next  he 
prepared  the  seats  for  Ma/Xua  and  his  friends  close  to  the  fireplace. 
He  poured  several  bottles  of  grease  into  a wooden  box  and  built  up  a 
high  pyre,  on  top  of  which  he  placed  the  box  containing  the  grease. 

On  the  following  day  Ma/Xua  called  his  tribe,  and  all  prepared  to  go 
to  Ya'qaLasame’s  house.  When  they  entered,  Ma/Xua  said:  “Now  be 
very  careful,  my  tribe!  Ho  not  forget  how  kindly  I feel  toward  all  of 
you.  If  ever  you  ask  me  to  help  you,  I do  not  spurn  you,  but  I feel 
proud  of  your  kind  feeling  toward  me.  Now  chiefs!  A/wite,  and  you, 
NEme/malas,  and  you,  Ya/Side,  do  for  me  as  I have  done  toward  you. 
I fear  he  will  show  his  great  fire,  then  let  us  take  care,  my  tribe ! The 
first  Gua'ts’enox  were  never  afraid  ; they  never  tied  from  anything. 
Therefore  we,  our  present  generation,  must  not  fear  anything,  wa!” 

Then  Ya'Side  spoke:  “Let  us  stand  by  our  chief,  Gua'ts’enox!  Let 
us  stand  by  our  chief!  The  name  Ma/Xua  comes  from  the  time  long 
before  our  grandfathers.  Now  our  generation  is  living.  Take  care, 
Ma/Xua,  and  you,  my  grandson,  -^a'SaxidalaLe,  for  the  people  of  our 
tribe  have  seen  your  kind  heart,  wa!” 

Then  they  loaded  four  canoes  with  the  blankets,  for  it  is  a long  way 
from  the  village  of  the  Gua'ts’endx  to  that  of  the  Qo'sqemuX.  They 
paddled,  and  when  they  arrived  at  the  village  of  the  Qo'sqemuX, 
A'wite  arose  in  the  canoe  and  said:  “Now,  show  yourselves,  Qo'sqi- 
muX!  1 am  of  the  Gua'ts’enoX  tribe  and  come  to  get  He'nEdemis,  the 
daughter  of  your  chief,  Ya'qaLasame,  as  wife  for  my  grandson,  x)a/J§axi- 
dalaLe.  Now,  NEg-e'tse  and  A'wite,  count  the  blankets!”  Now  they 
counted  the  blankets.  As  soon  as  there  were  five  pairs  of  blankets, 
A'wite  said:  “Ten  I am  paying  for  my  wife,”  and  when  another  five 
pairs  were  counted,  he  said  so  again,  and  so  on  until  all  the  blankets 
were  counted.  Then  Ya'qaLasame  went  out  of  the  house  and  said : 
“ Come,  Gua'ts’enox,  come  up  from  the  beach  into  my  house.”  Then 
they  all  went  ashore  and  entered  Ya'qaLasame’s  house.  When  all  were 
in,  Goax-i'lats’e  spoke : “ W elcome,  Gua'ts’enox ! Come,  Ma/Xua ; come, 
Ya'Side;  come,NEme7malas;  come,  A'wite;  come,  Ka'salis.  Thank  you 
for  coming,  Chief  ifE'nk-alas.  Now  take  care,  Gua'ts’enox,  for  here  is 
the  Q’o'moqoa,  a sea  monster,  who  swallows  everything,  and  there  in 


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REPORT  OF  NATIONAL  MUSEUM,  1895. 


tlie  rear  of  tlie  house  is  lie  who  devoured  everyone  who  tried  to  marry 
the  daughter  of  Ya'qaLasame,  and  this  fire  has  hurt  everyone  who 
tried  to  marry  He'nEdemis.  Now,  Chief  Ya'qaLasame,  light  your  fire 
and  let  the  chief  get  our  daughter  here.” 

Then  Ya'qaLasame  lit  the  fire  and  all  the  Gua'ts’enox  sat  down 
close  to  it.  When  the  fire  was  burning,  Ya'qaLasame  spoke:  “Now 
take  care,  Gua'ts’enox,  for  I intend  to  try  you.  You  said  you  were  not 
afraid  of  Ts’fknoqoa  ? Now  I will  try  all  of  you,  chiefs  of  the  Gua'ts’enox. 
On  account  of  this  fire  nobody  can  get  my  daughter.” 

When  the  grease  began  to  burn,  all  the  Gua'ts’enox  lay  down  on  their 
backs  and  their  blankets  were  scorched.  Now  the  fire  died  out,  and 
then  Kasa/lis  spoke:  “Ya,  Qo'sqemuX!  This  is  my  way.  I am  afraid 
of  nothing.  Even  if  you  should  begin  to  murder  us,  I should  not  run 
away.  Now,  Gua'ts’enox,  we  have  our  wife.  Here,  Chief  Ya'qaLa- 
same ! Look  at  our  blankets  which  we  are  giving  you.”  Then  Ya'qaLa- 
same  spoke:  “Chiefs  of  the  Gua'ts’enox,  I have  seen  you  are  really  a 

savage  people,  and  everyone  fears  you.  I am  afraid  of  you,  for  you 
are  the  first  ones  who  have  not  run  away  from  my  fire.  If  you  had 
run  away,  you  would  not  have  obtained  my  daughter  for  your  wife.” 
Then  he  shouted:  “Take  her,  Gua'ts’enox!  Now  you,  devourer  of  all 
tribes,  step  forward,  that  Ma/Xua  and  -rja'SaxidalaLe  may  see  who  has 
eaten  the  suitors  of  my  daughter.  Now  look,  NEmehnalas;  look, 
A'wite;  look,  Ya'gide;  and  you,  Kasa/lis,  and  see  the  devourer  of  the 
tribes.”  Then  Ya'qaLasame  took  a pole  and  poked  the  stomach  of  the 
devourer  of  the  tribes  who  had  come  forward.  Then  the  mask  vom- 
ited the  seven  skulls  and  the  other  bones  and  Ya'qaLasame  continued: 
“Now  look  at  it,  Gua'tskinox.  These  are  the  bones  of  the  suitors 
who  came  to  marry  my  daughter  and  who  ran  away  from  my  fire.  The 
devourer  of  tribes  ate  them.  That  is  what  he  vomited.  Now  come, 
HehiEdemis,  and  go  to  your  husband !” 

Then  she  came  and  went  into  the  canoe  of  the  Gua'ts’enox.  They 
all  went  into  the  canoe  and  returned  home. 

I will  give  still  another  example,  namely,  the  marriage  ceremony  of 
the  L’a'sq’enox,  which  is  founded  on  the  following  tradition : A chief  of 
the  L’a/sq’enox  speared  a sea  otter  which  pulled  his  canoe  out  to  sea. 
He  tried  to  cut  the  line,  but  it  stuck  to  the  canoe.  Finally  the  moun- 
tains of  his  country  went  out  of  sight.  After  a long  time  he  saw  a 
black  beach,  and  when  he  came  near,  he  saw  that  it  was  the  place  where 
all  the  coal  of  fires  goes  when  it  drifts  down  the  northward  current  of 
the  sea.  He  passed  this  place  and  came  to  the  place  where  all  the  dry 
sand  is  drifting  to  and  fro.  The  sea  otter  continued  to  pull  him  on,  and 
he  arrived  at  the  place  where  the  down  (of  birds)  is  drifting  on  the 
water.  He  passed  those  and  came  to  the  place  where  the  toilet  sticks1 
are  going.  Finally  he  discovered  a village  on  a beach.  The  sea  otter 
jumped  ashore  and  was  transformed  into  a man,  who  entered  the  chiefs 

1 Cedar  splints  used  in  place  of  toilet  paper. 


THE  KWAKIUTL  INDIANS. 


365 


house.  The  chiefs  speaker  invited  the  man  to  enter,  and  asked  him 
what  he  wanted.  The  person  who  sees  peoples’  thoughts  sat  to  the 
right  of  the  door  and  said : u He  comes  to  get  a magical  treasure.”  Then 
the  chief  of  the  sea  otter,  for  it  was  he  whose  house  he  had  entered, 
gave  him  a harpoon  and  said : u You  will  be  the  chief  of  the  world.  Do 
you  want  anything  else?”  u Yes,”  replied  the  man,  u I want  to  marry 
your  daughter.”  She  was  sitting  on  a platform  in  the  rear  of  the  house. 
He  married  her,  and  the  chief  gave  him  four  men  to  show  him  the  way 
home.  The  girl’s  names  were  Tse'saqa  (sea  otter  pup  woman)  and 
G*a/laxa-is  (first  to  receive  gifts).  When  they  approached  the  village  of 
the  L’a'sq’endx,  Tse'saqa  commanded  her  husband  to  throw  the  man  who 
was  sitting  in  the  bow  of  the  canoe  into  the  water.  He  made  him  lay  off 
his  mask  and  threw  him  into  the  water.  His  name  was  Xa’ya'la  (sound 
of  stones  rolling  on  the  beach).  Then  the  sea  began  to  roll  in  heavy 
waves.  The  woman  ordered  him  to  throw  the  three  other  men  into  the 
water.  He  did  so,  and  they 
were  tranformed  into  three 
islands,  which  protect  the 
beach  of  the  L’a/sq’enox 
village.  Since  that  time  the 
L’a/sq’endx  use  four  masks 
representing  these  men  in 
their  marriages. 

The  bridegroom’s  tribe  go 
in  canoes  to  the  girl’s  house. 

When  they  arrive  in  front  of 
her  house,  four  old  men  who 
wear  the  masks  representing 
the  four  men  referred  to  step 
ashore.  They  walk  four  steps 
and  then  perform 


Fig. 


MARRIAGE  MASK  OF  THE  LVSQ’ENdX. 

Height  14  inches. 

a dance.  • ^ A,  No.  1291,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A. 

They  look  at  the  girl’s  tribe 

and  point  toward  the  house  as  though  directing  their  friends.  Then 
they  go  back  into  the  canoe  and  take  their  masks  off.  Figure  6 rep- 
resents the  mask  of  Xa’ya/la.  I have  not  seen  the  three  other  masks 
belonging  to  the  ceremony.  The  broad  band  on  top  of  the  mask  repre- 
sents the  head  ornament  of  cedar  bark  which  Xa’ya/la  is  said  to  have 
worn.  The  four  men  receive  in  payment  of  their  dance  a blanket  each 
from  the  bridegroom. 

At  this  place  I can  describe  only  a portion  of  the  ceremonial  pre- 
scribed for  the  return  of  the  purchase  money  and  the  delivery  of  the 
crest  to  the  son-in-law,  as  it  is  in  most  cases  performed  as  a part  of  the 
winter  ceremonial  and  must  be  treated  in  connection  with  the  latter 
subject.  (See  p.  421.)  The  return  of  the  purchase  money  is  called 
qaute'x-a,  and  the  particular  manner  of  return,  which  will  be  described 
here,  LEnE'mXs’a. 

The  people  are  all  invited  to  assemble  in  the  house  of  the  wife’s  father. 


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REPORT  OF  NATIONAL  MUSEUM,  1895. 


When  all  the  guests  have  assembled,  the  father- in  law  of  the  young  man 
enters,  accompanied  by  his  clan.  Four  of  them  are  carrying  the  mast 
of  a canoe,  one  holding  it  at  the  top,  another  one  at  the  butt,  and  two 
at  intermediate  points.  They  walk  to  the  right  and  stand  on  the  right- 
hand  side  of  the  door  on  the  front  side  of  the  house,  facing  the  middle.1 
Then  the  wife’s  father  calls  his  son-in-law,  who  steps  forward  and  stands 
in  the  right-hand  rear  corner  of  the  house.  The  other  speaker  tells 
him  that  the  mast  represents  lids  of  boxes  (gTsExstala,  see  p.  421)  tied 
together  (LEnk11),  and  that  they  contain  everything  that  he  owes  his 
son-in-law.  The  latter  replies,  asking  if  the  coppers,  house,  its  posts, 
and  his  father-in-law’s  names  are  in  it  also.  Even  if  the  old  man  should 
not  have  intended  to  give  all  of  this,  he  must  comply  with  this  demand 
and  promise  to  give  it  all  to  his  son-in-law.  Next,  the  young  man’s  wife 
is  sent  by  her  father  to  fetch  the  copper.  She  returns,  carrying  it  on 
her  back,  and  the  young  men  of  her  clan  bring  in  blankets.  All  of  this 
is  given  to  the  young  man,  who  proceeds  at  once  to  sell  the  copper  off- 
hand. This  is  called  u holding  the  copper  at  its  forehead”  (da/g-iue). 
In  such  a case  less  than  one-half  of  the  actual  price  is  paid  for  the 
copper.  If  it  is  worth  6,000  blankets,  it  will  bring  only  2,500  blankets. 
The  buyer  must  pay  the  price  on  the  spot,  and  the  blankets  which  the 
young  man  obtains  in  this  manner  are  distributed  by  him  right  away. 
By  this  distribution  he  obtains  the  right  to  live  in  the  house  which  his 
father-in-law  has  given  to  him. 

Although  in  most  marriages  the  house  and  name  of  the  bride’s  father 
are  promised  to  be  transferred  to  the  young  man,  this  is  not  necessarily 
the  case.  The  dower  agreed  upon  may  consist  only  of  coppers,  canoes, 
blankets,  and  the  like. 

I learned  about  a curious  instance  how  a man  punished  his  father-in- 
law  who  had  long  delayed  the  return  of  the  purchase-money  and  was 
evidently  evading  the  duty  of  giving  up  his  name  and  home  to  his  son- 
in-law.  The  latter  carved  an  image  representing  his  wife  and  invited 
all  the  people  to  a feast.  Then  he  put  a stone  around  the  neck  of  the 
image  and  threw  it  into  the  sea.  Thus  he  had  destroyed  the  high  rank 
of  his  wife  and  indirectly  that  of  his  father-in-law. 

Y.  The  Clan  Leoends. 

It  appears  from  what  has  been  said  before  that,  in  order  to  fully 
understand  the  various  ceremonies,  it  is  necessary  to  be  familiar  with 
the  clan  legends.  In  the  following  chapter  I will  give  a selection  of 
legends  which  will  make  clear  their  connection  with  the  carvings  used 
by  each  clan  and  the  ceremonials  performed  on  various  occasions. 

It  seems  desirable  to  introduce  at  this  place  a fuller  description  of 

1 The  positions  in  the  house  are  always  given  according  to  the  Indian  method: 
The  fire  is  the  outer  side  (na/sak),  the  walls  the  hack  side  (a'ra).  Thus  right  and  left 

are  always  to  he  considered  the  corresponding  sides  of  a person  who  is  looking  toward 
the  fire  from  the  front  or  rear  of  the  house. 


THE  KWAKIUTL  INDIANS. 


367 


tlie  plan  of  the  house  than  has  heretofore  been  given.  The  houses  of 
the  Kwakiutl  form  a square,  the  sides  of  which  are  from  40  to  60  feet 
long.  (Figs.  7 and  8.)  The  door  (D)  is  generally  in  the  center  of  the 
side  nearest  the  sea,  which  forms  the  front  of  the  house.  The  latter 
has  a gable  roof,  the  ridge  of  which  runs  from  the  front  to  the  rear. 
The  walls  consist  of  boards,  which  are  fastened  to  a framework  of  poles. 
The  sides  of  the  door  are  formed  by  two  posts  (A)  from  6 to  8 inches  in 
diameter  and  standing  about  4 feet  apart.  Over  the  door  they  are  con- 


d 


GROUND  PLAN  OF  KWAKIUTL  HOUSE. 


nected  by  a crossbar  (B).  (Fig.  8.)  Sometimes  the  framework  of  the 
door  is  made  of  heavy  planks.  The  framework  of  the  house  front  con- 
sists of  two  or  three  vertical  poles  (0),  about  3 inches  in  diameter,  on 
each  side  of  the  door.  They  are  from  8 to  10  feet  apart.  Their  length 
diminishes  toward  the  sides  of  the  house  according  to  the  inclination  of 
the  roof.  These  poles  are  connected  by  long  crossbars  (E),  which  are 
tied  to  their  outer  side  with  ropes  of  cedar  bark  at  half  the  distance 
between  the  roof  and  the  ground.  The  framework  of  the  rear  part  is 
similar  to  that  of  the  front,  but  that  of  the  sides  is  far  stronger,  as  it 


368 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


has  to  support  the  roof.  Two  heavy  posts  (F),  about  9 inches  in  diam- 
eter, are  erected.  Their  heads  are  cut  out  and  a beam  of  the  same 
diameter  is  laid  over  them.  At  the  joints  it  is  cut  out  so  as  to  fit  into 
the  heads  of  the  posts.  On  both  sides  of  the  door  and  in  the  corre- 
sponding part  of  the  rear  side,  about  3 feet  distant  from  the  central 
line  of  the  house,  the  supports  (U)  of  the  roof  are  erected.  These  form 
the  principal  part  of  the  framework,  and  are  the  first  to  be  made  when 
the  house  is  built.  They  stand  about  3 feet  from  the  wall,  inside  the 
house.  These  uprights  are  about  2 feet  in  diameter  and  are  generally 
connected  by  a crosspiece  (Gr)  of  the  same  diameter.  On  each  side  of 
the  crosspiece  rests  a heavy  beam  (H),  which  runs  from  the  front  to  the 
rear  of  the  house. 


Mg.  8. 


ELEVATION  AND  SECTION  OF  KWAKIU.TL  HOUSE. 

Sometimes  these  beams  are  supported  by  additional  uprights  (U7), 
which  stand  near  the  center  of  the  house.  The  rafters  (E)  are  laid 
over  these  heavy  timbers  and  the  beams  forming  the  tops  of  the  sides. 
They  are  about  8 inches  in  diameter.  Light  poles  about  3 inches  thick 
are  laid  across  the  rafters.  They  rest  against  the  vertical  poles  (C)  in  the 
front  and  rear  of  the  house.  After  the  heavy  framework  which  supports 
the  central  part  of  the  roof  is  erected,  a bank  about  3 feet  in  height  is 
raised  all  around  the  outlines  of  the  house,  its  outer  side  coinciding 
with  the  lines  where  the  walls  are  to  be  erected.  Long,  heavy  boards 
4 or  5 inches  thick  are  implanted  lengthwise  along  the  front  of  the 
house,  their  upper  edges  standing  2J  or  3 feet  above  the  ground.  Then 
the  earth  forming  the  bank  is  stamped  against  them,  and  thus  a 


THE  KWAKIUTL  INDIANS. 


369 


platform  is  made  running  along  tlie  front  of  the  house.  Later  on  this 
is  continued  all  around  the  house.  The  framework  of  the  front  is  the 
next  to  be  erected.  The  poles  (0)  stand  in  the  dirt  forming  the  plat- 
form. The  upper  edges  of  the  front  boards  which  were  implanted  into 
the  ground  are  grooved,  and  in  this  groove  the  boards  forming  the 
front  wall  stand.  They  are  tied  or  nailed  to  the  crossbar  (E)  and  to  the 
foremost  rafter,  which  is  connected  with  the  framework  of  the  front. 
The  next  thing  to  be  done  is  to  make  the  rear  wall  and  the  sides.  The 
former  exactly  corresponds  to  the  front,  the  door  only  being  wanting. 
The  boards  forming  the  side  walls  are  implanted  in  the  ground,  stand- 
ing vertically,  their  upper  ends  being  tied  to  the  beam  forming  the  top 
of  the  framework.  The  platform  running  along  the  inner  sides  of  the 
walls  is  finished  by  stamping  the  earth  against  the  side  walls.  The 
roof  consists  of  a peculiar  kind  of  boards,  which  run  from  the  gable  to 
the  sides  of  the  house.  They  lap  on  their  edges  like  Chinese  tiles. 
This  arrangement  has  the  effect  that  the  rain  runs  from  the  roof  with- 
out penetrating  into  the  house.  The  house  front  is  generally  finished 
by  cutting  the  boards  off  along  the  roof  and  by  finishing  them  off  with 
a molding.  A few  logs  are  placed  in  front  of  the  door,  forming  steps 
(T)  that  lead  to  the  platform.  Steps  of  the  same  kind  lead  from  the 
platform  to  the  floor  of  the  house.  The  board  forming  the  inner  side 
of  the  platform  slopes  slightly  inward.  The  house  has  no  smoke 
escape,  but  several  of  the  boards  forming  the  roof  can  be  pushed  aside. 
During  the  night  these  openings  are  closed,  but  in  the  morning  one 
board  over  every  fireplace  is  pushed  aside  by  means  of  a long  pole. 
As  it  is  necessary  to  look  after  the  roof  from  time  to  time,  a stationary 
ladder  is  leaned  against  the  side  of  the  house.  It  consists  of  one-half 
of  the  trunk  of  a tree  or  of  a heavy  board,  into  the  upper  side  of  which 
steps  are  cut. 

The  house  is  inhabited  by  several  families,  each  of  whom  has  a fire- 
place of  its  own.  The  corners  belonging  to  each  family  are  divided  off 
from  the  main  room  by  a rough  framework  of  poles,  the  top  of  which 
is  used  for  drying  fish  or  other  sorts  of  food.  On  each  side  of  the  fire 
stands  the  immense  settee  (fig.  11),  which  is  large  enough  for  the  whole 
family.  It  has  no  feet,  is  about  7 feet  long  and  4 feet  deep,  and  its  sides 
slope  slightly  backward,  so  as  to  form  a convenient  support  for  the 
back.  Boards  are  laid  along  the  base  of  the  rear  and  front  platform  and 
on  the  side  of  the  fire  opposite  the  settee.  The  arrangement  is  some- 
times made  a little  different,  the  settee  being  wanting,  or  in  some 
instances  standing  on  the  rear  side.  Often  long  boards  are  placed 
edgewise  near  the  fire,  serving  as  a back  support.  They  are  supported 
by  plugs  which  are  rammed  into  the  floor  and  lean  slightly  backward, 
thus  forming  a convenient  back  support.  The  bedrooms  have  the  form 
of  small  houses  which  are  built  on  the  platform  running  around  the 
house.  Most  of  these  bedrooms  have  gable  roofs,  and  their  fronts 
are  finished  off  with  moldings.  The  section  c-d  (fig.  8)  explains  the 
NAT  mus  95 24 


370 


REPORT  OF  NATIONAL  MUSEUM,  1895„ 


arrangement  better  than  any  description  can  do.  Sometimes  these 
rooms  are  enlarged  by  adding  a low  extension  to  the  house,  the  floor 
of  which  is  elevated  as  high  as  the  platform.  In  the  center  of  such 

rooms  there  is  a small  fire- 
place. The  plans  of  tbe 
houses  of  the  separate 
gentes  show  slight  differ- 
ences. In  some  instances 
the  heavy  beams  (H)  rest  on 
the  uprights  (U),  the  cross- 
piece (Gl)  being  wanting 
(fig.  9).  In  other  instances 
there  is  only  a single  timber 
resting  on  the  crosspiece 
(G).  When  festivals  are 
celebrated,  all  the  parti- 
tions, seats,  and  fires  are 
removed,  and  one  large  fire 
is  built  in  the  center  of  the 
house.  For  such  occasions 
the  floor  is  carefully  leveled 
and  swept.  Each  house  has 
its  name,  as  will  be  seen 
from  the  view  of  the  village  of  Xumta'spe  (fig.  26,  p.  391),  in  which  the 
names  of  four  of  the  houses  are  given.  In  front  of  the  village  the 
bight  Okuiua/Le  is  seen,  bounded  by  the  narrow  point  La'sota,  on 
which  the  natives  grow  some  potatoes  in  a small  inclosure.  Behind 


From  a sketch  by  the  author. 


Fig.  10. 

WOOD  CARVING  REPRESENTING  THE  Sl'SIUL. 

Worn  in  front  of  the  stomach  and  secured  with  cords  passing  around  the  waist. 
Length  42  inches. 

IV  A,  No.  6891,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  F.  Boas. 


this  point  the  hills  of  Galiano  Island,  KaxaxLa/  and  We'xoeoa,  are 
seen,  which  are  frequently  mentioned  in  the  legends  of  these  tribes. 
The  island  is  divided  from  Hope  Island  by  the  Strait  of  Oxsa/. 


THE  KWAKIUTL  INDIANS. 


371 


The  houses  generally  face  the  beach  and  are  built  in  a row.  (See  fig.  26, 
p.  391.)  In  front  of  the  town  there  is  a street,  which  is  carefully  leveled, 
the  lower  side  being  supported  by  an  embankment  of  heavy  logs.  From 
here  steps  lead  down  to  the  beach,  where  the  canoes  are  lying.  Oppo- 


Eig. 11. 

SETTEE,  WITH  CARVING  REPRESENTING  THE  Si'SIUL. 
From  a sketch,  by  the  author. 


site  to  the  houses,  on  the  side  of  the  street  toward  the  sea,  there  are 
platforms;  summer  seats,  on  which  the  Indians  pass  most  of  their  time, 
gambling  and  conversing.  The  platform  rests  on  a framework  of  poles 
and  on  the  embankment  of  the  street,  as  shown  in  fig.  26. 

I proceed  now  to  a discussion  of  the  clan  legends. 

First  of  all,  it  is  necessary  to  describe  and  enumerate  a number  of 
supernatural  beings  who  may  become  the  supernatural  helpers  of  mau, 
as  they  appear  over  and 
over  again  in  the  clan 
legends.  Besides  a num- 
ber of  animals,  such  as 
wolves,  bears,  sea  lions, 
and  killer  whales,  which, 
however,  do  not  play  a 
very  important  part  as 
protectors  of  man,  we 
find  principally  a num- 
ber of  fabulous  monsters 
whose  help  was  obtained 
by  the  ancestors,  and 
who  therefore  have 
become  the  crest  of  the 
clan. 

Perhaps  the  most 
important  among  these  is  the  sfsiuL,  the  fabulous  double-headed 
snake,  which  has  one  head  at  each  end,  a human  head  in  the  middle, 
one  horn  on  each  terminal  head,  and  two  on  the  central  human 
head.  (Fig.  10.)  It  has  the  power  to  assume  the  shape  of  a fish. 
To  eat  it  and  even  to  touch  or  to  see  it  is  sure  death,  as  all  the 
joints  of  the  unfortunate  one  become  dislocated,  the  head  being 
turned  backward.  But  to  those  who  enjoy  supernatural  help  it  may 


372 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


■Fig.  13. 

MASK  REPRESENTING  THE  TS’O'NOQOA. 
Cat.  No.  129516,  U.S.N.M.  Collected  by  Franz 


m 


bring  power;  its  blood,  wherever  it  touches  the  skin,  makes  it  as 
hard  as  stone;  its  skin  used  as  a belt  enables  the  owner  to  per- 
form wonderful  feats;  it  may  become  a canoe  which  moves  by  the 
motions  of  the  sUsiuL  fins;  its  eyes,  when  used  as  sling  stones,  kill 
even  whales.  It  is  essentially  the  helper  of 
warriors. ' 

I give  here  a few  forms  in  which  the  sfisiuL 
is  represented  (figs.  11,  12.  See  also,  figs. 
166-169,  pp.  514,  515,  Plate  15).  In  fig. 
12  only  one-half  of  the 
sUsiuL  is  shown.  The  ter- 
minal head,  with  its  horn 
laid  backward,  is  plainly 
seen.  The  upper  line  be- 
hind the  head  designates 
the  body,  from  which  down- 
ward and  forward  extends 
one  leg,  the  foot  of  which 
is  quite  clear.  One  of  the 
central  horns  is  shown 
over  the  point  of  attachment  of  the  leg. 

Another  being  which  figures  largely  in  the  clan 
legends  of  the  Kwakiutl  is  the  Ts’o'noqoa,  a wild 
woman  who  resides  in  the  woods.  She  is  repre- 
sented as  having  enormous  breasts  and  as  carry- 
ing a basket,  into  which  she  puts  children  whom 
she  steals  in  order  to  eat  them.  Her  eyes  are 
hollow  and  shine  with  a wild  luster.  She  is  asleep 
most  of  the  time.  Her  mouth  is  pushed  forward, 
as  she  is,  when  awake,  constantly  uttering  her  cry, 

“u,  hu,  u,  u.”  This  figure  belongs  to  a great  many 
clan  legends,  and  is  often  represented  on  house  posts 
or  on  masks  (figs.  13, 14). 

The  following  tradition  describes  this  spirit  quite 
fully: 

The  first  of  the  ifa/sq’endx  lived  at  XanX.  On 
the  one  side  of  the  river  lived  the  clan  WPsEnts’a. 

One  day  the  children  went  across  the  river  to  play 
there.  They  ma4e  a house  of  fir  branches  and  played 
in  it.  One  of  the  boys  went  out  of  the  house  and 
he  discovered  a giantess  who  was  approaching  the 
house.  He  told  his  friends,  who  came  running 
out  of  the  house.  The  giantess  was  chewing  gum 
which  was  as  red  as  blood.  The  children  wanted  to  have  some 
of  the  gum.  Then  she  called  them  and  gave  them  some.  They 
asked  her:  u Where  do  you  get  your  gum?”  aCome,”  she  replied. 


r 


Fig.  14. 

HOUSE  POST  IN  XUM- 
TA'SPE  REPRESENT- 
ING THE  TS’O'NOQOA. 
From  a sketch  by  the  author. 


THE  KWAKIUTL  INDIANS. 


373 


“I  will  point  it  out  to  you.”  Then  the  children  crept  into  the  basket 
which  she  carried  on  her  back  and  she  went  into  the  woods.  She  was 
Ao'xLaax  (or  Ts’o'noqoa).  She  carried  them  far  into  the  woods.  Then 
she  put  the  gum  on  their  eyes  and  carried  them  to  her  house.  She  was 
a cannibal.  Among  the  children  were  two  sons  of  the  chief  of  the 
WflsEnts’a;  Lo'pEk-’axstEliL 1 was  the  name  of  the  chief.  His  wife  was 
LE'wag-ilayuqoa.  Then  she  cried,  and  sometimes  she  would  blow  her 
nose  and  throw  the  mucus  on  the  ground.  Suddenly  she  discovered  a 
little  boy  lying  on  his  back  on  the  floor.  He  had  originated  from  the 
mucus  of  her  nose.  She  took  the  boy  up  and  carried  him  into  the  house. 
He  grew  very  quickly ; after  four  days  he  was  quite  strong.  Then  he 
asked  for  a bow  and  two  arrows.  Now  he  was  called  LE'ndEqoayats’E- 
waL.  When  he  had  received  his  bow  and  arrows,  LE'wagdlayuqoa 
asked  him  not  to  go  across  the  river,  but  he  did  so  against  her  re- 
quest. He  followed  the  trail  which  he  found  on  the  other  side.  He 
came  to  a house  and  entered.  There  he  saw  children  sitting  on  the  floor, 
and  a woman  named  L^'pEk^axstEliL,  who  was  rooted  to  the  floor.  The 
latter  spoke:  “ Don’t  stay  long,  Chief ! She  is  gone  after  water;  if  she 
should  come  back,  she  will  kill  you.”  Then  he  went  out  and  folio  wed  the 
trail.  All  of  a sudden  he  saw  the  TsWnoqoa  coming.  She  carried  a 
bucket  in  each  hand.  The  little  boy  climbed  a tree,  in  order  to  hide  in 
its  branches.  The  Ts’o'noqoa  sawliis  image  in  the  water  and  made  love 
to  him.  She  looked  up  and  discovered  him.  Then  she  called  him  to 
come  down.  Now  he  came  down  to  her  and  that  woman  asked  him : 
“How  does  it  happen  that  you  look  so  pretty?”  The  boy  said:  “ I put 
my  head  between  two  stones.”  She  replied:  “Then  I will  take  two 
stones  too.”  He  sent  her  to  fetch  two  stones  and  soon  she  came  back 
carrying  them.  She  put  them  down.  The  boy  said:  “Now  lie  down 
on  your  back.”  Then  the  boy  put  the  one  stone  under  her  head  and 
told  her  to  shut  her  eyes.  Then  he  took  the  other  stone  and  dropped 
it  as  hard  as  he  could  on  her  head.  Her  head  was  smashed  and  her 
brains  were  scattered.  She  was  dead.  The  boy  broke  her  bones  with 
the  stones  and  threw  them  into  the  water.  Then  he  went  into  her 
house.  As  soon  as  he  had  entered,  the  woman  who  was  rooted  to  the 
floor  said : “Now  do  not  stay  long.  I know  that  you  have  tried  to 
kill  the  Ts’o'noqoa.  It  is  the  fourth  time  that  somebody  tried  to  kill 
her.  She  never  dies;  she  has  nearly  come  to  life.  There  in  that  cov- 
ered hemlock  branch  (knothole?)  is  her  life.  Go  there,  and  as  soon  as 
you  see  her  enter  shoot  her  life.  Then  she  will  be  dead.”  She  had 
hardly  finished  speaking  when  the  Ts’o'noqoa  came  in,  singing  as  she 
walked: 

I have  the  magical  treasure, 

I have  the  supernatural  power, 

I can  return  to  life. 

That  was  her  song.  Then  the  boy  shot  at  her  life.  She  fell  dead  to  the 
floor.  Then  the  boy  took  her  and  threw  her  into  the  hole  in  which  she 

irJThis  does  not  seem  quite  clear.  The  name  means:  “ Rooted  to  the  floor,”  and 
appears  farther  on  as  that  of  a woman  living  in  the  Ts’o'noqoa’s  house. 


374 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


was  going-  to  roast  the  children.  He  washed  their  eyes  with  urine  and 
took  them  home  to  XanX.  They  were  all  alive  again.  Then  LE'ndE- 
qoayats’EwaL  went  back  to  heaven. 

Of  less  frequent  occurrence  is  the  spirit  of  th  esea,  Q’o'moqoa,  the 
protector  of  the  seals,  who  kills  hunters.  There  are  a number  of  tales 
relating  how  he  took  the  ancestor  of  a tribe  to  the  bottom  of  the  sea 
and  gave  him  his  crest.  I will  give  here  a legend  of  the  clan  G*exsEm, 
of  the  La'Lasiqoala,  which  shows  how  they  came  into  the  possession  of 
the  Q’o'moqoa  carving:  O'hneaL,  the  Haven,  the  ancestor  of  the  clan 
G'e'xsEin,  had  a daughter  named  Ha/taqa.  One  day  the  crow,  who  was 
0/?meaL’s  sister,  and  Ha/taqa  went  down  to  the  beach  to  gather  sea 
urchins.  Soon  they  had  filled  their  baskets.  The  crow  carried  them 
into  the  woods,  broke  the  shells,  and  prepared  them.  Then  she  offered 
some  to  Ha/taqa,  who  refused  them,  for  fear  of  her  father.  The  crow, 
however,  promised  that  he  would  not  tell  on  her,  and  prompted  Ha/taqa 
to  eat  of  the  sea  urchins.  She  had  hardly  begun  to  eat  when  the  crow 
jumped  upon  a log  of  driftwood,  shouting,  “ Qax,  qax,  qax,  qax! 
Ha/taqa  is  stealing  sea  urchins.”  Ha/taqa  asked  her,  “Please  stop,  and 
I will  give  you  my  blanket.”  The  crow,  however,  did  not  cease  shout- 
ing, although  Ha/taqa  offered  her  her  bracelets  of  abalone  shells.  But 
already  0”meaL  had  heard  what  the  crow  said.  He  was  enraged,  and 
ordered  his  tribe  to  load  their  canoes  and  to  extinguish  the  fires.  Then 
he  and  his  whole  tribe  left  Ha/taqa  all  alone  in  the  deserted  village. 
Ha/taqa’s  grandmother,  however,  had  pity  upon  the  girl,  and  before 
she  left  she  hadt  hidden  some  fire  in  a shell.  A dog  and  a bitch  were 
the  only  living  beings  that  were  left  in  the  village  besides  Ha/taqa. 
As  soon  as  the  canoes  were  out  of  sight,  the  dog,  by  dint  of  scratching 
and  howling,  attracted  her  attention  to  the  shell.  She  found  the  glow- 
ing embers  and  started  a fire.  She  built  a hut  of  cedar  twigs,  in  which 
she  lived  with  her  dogs.  The  following  morning  she  sent  them  into  the 
woods  and  ordered  them  to  fetch  withes.  They  obeyed,  and  Ha/taqa 
made  four  fish  baskets.  At  low  water  she  placed  them  on  the  beach, 
and  at  the  next  tide  she  found  them  full  of  fish.  But  on  looking  more 
closely  she  discovered  a man  in  one  of  them,  Aik*aVyolisana,  the  son 
of  QVmbqoa.  He  came  from  out  of  the  basket,  carrying  a small 
box.  He  said  to  her,  “Carry  this  small  box  to  your  house.  I came 
to  marry  you.”  Although  the  box  was  small,  Ha'taqa  was  unable 
to  lift  it,  and  he  had  to  carry  it  himself.  When  he  arrived  in  front  of 
the  house,  he  opened  it,  and,  behold ! a whale  was  in  it.  Aik*aVyoli- 
sana  built  a large  house  and  married  Ha/taqa.  Then  he  invited  all 
the  tribes  and  distributed  the  whale  meat.  His  descendants  use  his 
mask  (fig.  15),  and  when  it  is  shown,  sing  as  follows: 

It  is  a tale  which  came  down  to  us  from  the  beginning  of  the  world. 

You  came  up,  bringing  the  house  of  Q’O'mdqoa,  you  “ Growing  rich,” 

“ Wealth  coming  ashore,7’  “ Covered  with  wealth,77  11  Mountain  of  property.77 
“ Really  great  Mountain.77  It  is  a tale  which  came  down  to  us  from  the  beginning 
of  the  world.1 


See  Appendix,  page  673. 


THE  KWAKIUTL  INDIANS. 


875 


Whatever  the  tradition  of  the  clan  may  he,  the  figures  with  which 
house  and  implements  are  ornamented  refer  to  this  legend.  I am  not 
familiar  with  all  the  legends,  which  often  are  quite  trivial,  merely  stating 
that  the  ancestor  met  such  and  such  a being.  I give  here  a number  of 
figures,  which  will  illustrate  the  connection  between  the  clan  legend  and 
the  ornamentation  of  various  objects.  Fig.  1G  shows  the  house  front  of 
the  clan  Oe'xsEm  of  the  La'Easiqoala.  It  represents  the  thunder  bird 
squatting  over  the  door,  and 
the  sun  at  each  side.  While 
the  former  belongs  to  the 
G-e'xsEm,  the  sun  was  ob- 
tained from  the  clan  Q’odn. 
k*utis  of  the  Goasida.  Fig. 

17  shows  the  house  front  of 
the  clan  GFg-ilqam  of  the 
same  tribe.  The  bears  on 
each  side  of  the  door  are  the 
crest  of  this  clan,  which  was 
obtained  by  their  ancestor 


Fig.  15. 

MASK  REPRESENTING  AIK‘ A’A'YOLISaNA. 

The  face  is  painted  red  and  black;  th9  bat  is  of  muslin,  with  a painting  on  the  front  representing  the 
sea  monster  ts’e'qic,  one  on  the  hack  representing  a starfish,  and  another  the  feather  of  a thunder 
bird.  The  revolving  carved  figure  on  top  represents  a cod.  Scale  of  front  view,  £ 

IV  A,  No.  6889,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  F.  Boas. 


Kue'xag-ila,  the  son  of  Ha/taqa.  (See  p.  374.)  Around  the  door  is  the 
crest  of  the  mother  of  the  houseowner,  who  belonged  to  the  Goasida  tribe. 
It  represents  the  moon,  G*a/loyaqame  (=the  very  first  one),  and  inside 
the  ancestor  of  the  clan,  LEdnakulag-ilak-as’o,  who  was  taken  up  to  the 
moon  by  G*adoyaqame.  The  feet  of  this  figure  are  drawn  like  frog’sfeet, 
but  I did  not  learn  any  particular  reason  for  this  fact.  Fig.  18  shows 
the  house  front  of  the  clan  GTg-ilqam  of  the  Nimkisli.  It  represents  the 


376 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


thunder  bird  lifting  a whale,  which  is  its  food,  from  out  of  the  water. 
According  to  the  clan  tradition,  the  Gu'g'ilqam  are  the  descendants  of 
the  thunder  bird.  This  house  front  was  excellently  painted,  but  has  been 
whitewashed,  owing  to  the  misplaced  zeal  of  a missionary.  The  beak 
was  carved  and  fastened  to  the  house  front.  The  owner  had  one  of  his 
coppers  tied  to  the  pole  on  top  of  the  house.  In  fig.  20  is  shown  a house 
post  which  represents  a sea  lion.  I was  not  able  to  learn  to  what  clan  it 
belongs.  It  is  found  in  a house  at  Xumta'spe  with  the  post  shown  in  fig. 
36,  p.  414.  The  owner  belongs  to  theclanG^e'xsEnqoftheXaqo'mg'ilisala. 
The  carving  is  said  to  have  come  from  Ya/qaL’nala  (Hope  Island),  which 
is  the  territory  of  the  La'Lasiqoala.  When  the  Haqo'mg-ilisala  moved 
to  the  present  village  of  Xewettee  they  brought  it  with  them.  Fig. 
19,  which  represents  a statue  in  a house  at  Xumta'spe,  has  a curious 


Mg.  16. 

HOUSE  FRONT  OF  THE  CLAN  (TE'XSEM,  LA'LASIQOALA. 


From  a sketch  by  the  author. 


explanation.  It  belongs  to  the  subdivision  Me'Emaqaae  (Me'Emaqaua 
in  the  Xaqo'mg-ilisala  dialect)  of  the  Xaqo'rag-ilisala.  These  are  the 
descendants  of  Le'laxa  (=coming  often  from  above)  the  son  of  Q?e'q7a- 
qanalis,  whose  legend  will  be  found  below  (p.  416).  Their  original 
home  is  the  island  G*ig*e'LEm,  one  of  the  small  islands  southeast  of 
Hope  Island.  LEla'k*En  was  a later  chief  of  the  clan.  His  daughter 
was  Lao'noqumeqa.  They  moved  to  the  island  Q’oa'sqEmlis  and  built 
a village.  The  chief  made  a statue  like  the  one  represented  here.  It 
is  hollow  behind  and  its  mouth  is  open.  In  the  potlatch  the  chief  stands 
behind  the  mouth  of  the  statue  and  speaks  through  it,  thus  indicating 
that  it  is  his  ancestor  who  is  speaking.  LEla'k*En  had  one  dish  repre- 
senting a wolf,  another  one  representing  a man,  and  a third  one  in  the 


Report  of  U.  S.  National  Museum,  1895. — Boas. 


Plate  16. 


Columns  in  Fort  Rupert. 

From  a photograph. 


THE  KWAKIUTL  INDIANS. 


379 


shape  of  a bear.  As  the  man  who  made  the 
present  statue  was  too  poor  to  have  all  these 
carvings  made,  he  had  them  carved  on  the  statue 
instead. 

Figure  21  represents  a totem  pole,  which  was 
standing  until  a few  years  ago  in  front  of  a house 
in  Xumta'spe  (Xewettee).  The  crest  belongs  to 
the  subdivision  tP’ek'kVte  of  the  clan  Gu'gulqam. 
According  to  the  legend,  these  people  are  the 
descendants  of'G-’ote,  the  son  of  K-epusalaoqoa, 
the  youngest  daughter  of  Kue'xag-ila,  the  son  of 
Hataqa,  the  daughter  of  O^meaL.  (See  p.374.) 
They  have  the  Ts’o'noqoa,  a man  split  in  two, 
another  man,  wolf,  beaver,  and  the  sea  monster 
ts’e'qic  for  dishes.  A man  named  XE'mqEmalis 
married  a daughter  of  the-G-7eg*’b/te  chief,  and  he 
had  all  these  dishes  made.  Later  on,  a man  named 
Qoayo'LElas  married  NE'mqEmalis’s  cousin. 
Then  he  was  told  to  unite 
the  dishes  and  to  carve  a 
totem  pole.  He  did  so. 

The  second  figure  from 
below  is  placed  upside 
down  because  the  dish 
was  in  the  back  of  the 
man,  while  all  the  others 
were  in  the  bellies  of  the 
carvings.  This  history 
may  also  explain  the  fact 
that  all  the  figures  are 
separated  on  this  column, 
while  in  most  other  totem 
poles  they  overlap,  one 
holding  the  other  or  one 
standing  on  the  other. 

From  the  same  clan 
was  obtained  the  crane 
surmounting  the  speaker 
on  the  post  farthest  to  the 
right  on  Plate  16. 

The  three  posts  in  figs. 

22  and  23  are  the  front  and 
rear  posts  of  the  house 
Qoa/qoak-imlilas  of  the 
clan  G*e'xsEm  of  the  Xa- 
qo'mg-ilisala.  The  posts 


STATUE  FROM  HOUSE  IN  XUMTA'S- 
PE. 

From  a sketch  by  the  author. 


Fig.  20. 

HOUSE  POST  REPRESENTING  A 
SEA  LION. 

From  a sketch  by  the  author, 


380 


REPORT  OP  NATIONAL  MUSEUM,  1895. 


were  on  exhibition  at  the  World’s  Columbian  Exposition  and  were  trans- 
ferred to  the  Field  Columbian  Museum.  The  name  of  the  house  was 
given  by  Q’a/nig*ilaku,  the  great  transformer,  who,  it  is  said,  made  two 
houses  of  dirt,  one  for  himself,  one  for  his  brother  NEmo'gwis.  He  blew 
upon  them  aud  they  grew  large.  He  called  the  first  Qoa/qoakdmlilas 
(so  large  that  one  can  not  look  from  one  corner  across  to  the  other),  the 


HERALDIC  COLUMN  FROM  XUMTA'SPE. 
From  a sketch  by  the  author. 


other  Yuibadag-ilis  (the  wind  blowing  through  it  all  the  time).  He  carved 
four  men  of  cedar  wood,  and  called  them  T’bxtowa/lis,  QaLqap’alis, 
K-’etoqalis,  and  BebekumlisUla.  He  made  them  alive  and  they  lived 
in  his  house.  Three  of  these  men  are  represented  on  the  posts.  There 
was  another  post,  on  which  the  fourth  one  was  carved,  but  it  was  so 
rotten  that  the  owner  of  the  house  removed  it.  Post  No.  1 (fig.  22) 
represents  on  top  QaLqap’alis,  below  a Ts’o'noqoa,  which  the  owner 


Report  of  U.  S.  National  Museum,  1895. — Boas. 


Plate  1 7, 


Statue  representing  the  Killer  Whale. 

Fort  Rupert. 

From  a photograph. 


THE  KWAKIUTL  INDIANS. 


381 


Fig.  22. 


POSTS  IN  THE  HOUSE  OF  THE  CLAN  G'E'XSEM, 

naq6'mg-ilisala. 

From  a sketch. 


had  obtained  from  the  G-Tg-ilqam  of  the  LaAasiqoala,  who  have  inheri- 
ted it  from  Kue'xag-ila.  Post  No.  2,  of  the  same  figure,  shows  ENeto- 
qa/lis  on  top.  The  heads  underneath  represent  two  slaves  which  were 
sold  for  the  post  (o?ina/yu),  its  price.  The  figure  underneath  is  a 

bear  (nan),  which  belongs  to  the  clan 
LafiauiLEla  of  the  same  tribe.  Figure 
23  shows  the  only  preserved  rear  post  in 
the  same  house.  On  top  the  figure  of 
of  Bebekumlisi'la  is  seen.  The  bear 
underneath  was  obtained  from  the 
clan  Kwa/kokuL  of  the  Na/q?oaqtoq. 
The  broken  copper  which  it  holds  is 
the  price  paid  for  the  post. 

Plate  17  shows  a wood  carving  which 
stands  on  the  street  of  Fort  Bupert. 
It  represents  the  killer  whale,  a crest 
of  the  clan  La/alaxsEnfaio. 

A very  characteristic  tradition  is  that 
of  the  clan  NunEmas- 
Eqalis  of  the  Laufitsis : 

In  the  beginning 
NomasE'nxelis  lived 
at  A'gdwa’laa,  in  front  of  Tsa/xis.  He  had  a house 
there.  His  son  was  L’a/qoagulaqEmae.  NomasE'n- 
xelis  came  up  with  his  copper.  It  is  said  that  in  the 
beginning  he  lay  on  it  with  his  knees  drawn  up,  and 
therefore  his  child  was  called  L’a/qoagulaqEmae.  Then 
Yix*a/qEmae,  NomasE'nxelis’s  uncle,  asked  him  to  get 
a wife  for  him.  Yix-a'qEmae  lived  at  iAXsTwae.  He 
induced  NomasE'nxelis  to  come  there  and  live  with 
him.  His  son  was  to  marry  the  daughter  of  Sa/g-iye. 

Yix-a/qEmae  desired  to  have  Sa/g-iye’s  house  and 
carvings,  therefore  he  wanted  to  .marry  his  daughter. 

A killer  whale  was  the  painting  of  the  house  front. 

Gulls  were  sitting  on  its  roof.  Various  kinds  of  carv- 
ings were  in  the  house.  Then  NomasE'nxelis  went 
out  of  the  canoe  to  speak.  He  took  his  staff  (fig.  24); 
therefore  his  staff'  has  a hand  on  top  of  it,  because  he 
carried  there  on  his  hands  the  chiefs  daughters  of 
all  the  tribes.  Then  he  got  the  daughter  of  Sa'g-iye. 

Only  NomasE'nxelis  and  Yix*a/qEmae  lived  in  that 
house.  Now,  when  it  was  time  to  go  to  Ts’a/wate,1 
they  made  themselves  ready.  NomasE'nxelis  wanted 
to  give  a feast  from  the  sale  of  his  copper.  They  paddled  and  stopped 
at  L’a/qoaxstEhs.  There  he  wanted  to  take  a stone  and  put  it  into  his 
house.  They  tried  to  take  the  stone  into  the  canoe  when  they  were 


Fig.  23. 

POST  IN  HOUSE  OF  THE 
CLAN  G'E'XSEM,  NA 
QO'MG'ILISALA. 

From  a sketch. 


1 Namely,  to  fisli  for  oulachon. 


382 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


going  to  Ts’a/wate.  They  were  not  strong  enough  to  take  it.  Then  he 
put  his  copper  under  the  stone.  Therefore  the  stone 
received  the  name  “ copper  under  it.”  Then  he  said 
he  had  received  the  stone  as  price  for  his  copper. 
Now  they  arrived  at  Ts’a/wate.  Then  he  used  his  staff 
with  a copper  on  top.  A hand  was  on  top  also.  Then 
he  gave  a feast  to  many  tribes,  and  changed  his  name 
and  took  the  name  Kuaxdlano'kume.  L’a'qoag-ila- 
qEmae  was  now  the  name  of  his  successor  ; Ts’amfi  was 
the  name  of  another  child  of  his.  That  is  the  end. 
(Appendix,  p.  673.) 

There  is  one  legend  which  is  of  importance  in  this 
connection,  because  the  rank  of  the  various  names  and 
the  laws  governing  potlatch  and  feast  are  derived 
from  it.  I give  here  a version  of  the  tale,  which, 
however,  is  not  quite  complete  and  requires  some  ad- 
ditional remarks.  It  is  the  legend  of  O’maxt’a/laLe, 
the  clan  legend  of  the  G-Ugulqam  of  the  Q’o'inoyue : 
A bird  was  sitting  on  the  beach  at  TE'ng-is.  He 
took  off*  his  mask,  and  then  his  name  was  NEmo'gwis. 
He  became  a man.  Then  he  moved  to  K-’a/qa.  He 
had  a son  whom  he  named  O’maxt’a/laLe.  The  child 
grew  up  fast;  he  became  a real  man.  He  was  very 
strong.  He  walked  with  his  uncle  LoAaVatsa  on  the 
beach  of  Tsa/xis  and  clubbed  seals.  They  were  walk- 
ing back  and  fro  clubbing  seals.  Then  NEmo'gwis 
spoke  to  his  younger  brother  LoAa’watsa : “ Friend, 
don’t  let  us  go  on  in  this  manner.  Let  us  try  to  ar- 
range that  our  son  may  go  out  to  sea.”  He  desired 
to  have  more  game  than  the  sea  otters  and  seals 
which  they  were  able  to  club  on  the  beach  of  Tsa'xis. 
Therefore  they  wanted  to  go  to  the  islands.  Then 
NEmo'gwis  and  his  younger  brother  burnt  the  inside 
of  a cedar  and  burnt  its  ends,  thus  making  a canoe. 
They  finished  it.  Then  they  launched  the  canoe  that 
they  had  made  for  the  child.  They  tried  the  canoe 
that  the  child  was  to  use  when  going  to  Deer  Island. 
O’maxt’a/laLe  was  annoyed,  and  when  he  came  back, 
his  canoe  was  full  of  sea  otters  and  seals.  He  kept 
on  going  out  every  day  and  caught  many  sea  otters 
and  seals.  Then  he  said:  “Let  us  try  to  discover 
how  many  tribes  there  are.  Let  someone  go  and  call 
them.”  Then  NEmo'gwis’s  younger  brother  Lo'La’- 
watsa  paddled.  He  was  going  to  La’la/te  to  call 
Hai'alik-awae.  Then  he  arrived  at  Qag-’axstE'ls  and 
called  Ma/tag-i’la.  He  arrived  at  G*’otaqa’la  and  called 


Tig.  24. 

speaker’s  staff. 

Two  hollow  pieces  of 
cedar,  filled  with  peb- 
bles. Length,  62 
inches. 

IV  A,  No.  1127,  Royal  Ethno- 
graphical Museum,  Berlin. 
Collected  by  A.  Jacobsen. 


THE  KWAKIUTL  INDIANS. 


383 


L’a/xLaqoaXLa  the  Lau'itsis,  who,  it  is  said,  was  a man.  He  arrived  at 
Se'lats’e  and  called  Ma/leleqala.  He  moved  on  and  came  to  La'L’a- 
qkixLa.  There  he  called  Ts’E'nXq’aio.  He  arrived  at  Ta/yaxqoL  and 
called  La/laxsEnt’aio.  Then  he  went  to  the  town  at  Q’o'que’taxsta’yo 
and  called  Wa/xap’alaso.  Then  he  went  up  the  bay  to  A'g-iwa’laa  and 
called  Xu'mas.  Then  he  went  up  the  Sound  to  LiXsbwae  and  called 
Sa/g*iye.  He  came  to  XutsEtsa'lis  and  called  YiXa/qEmae.  Then  he 
went  to  the  right  side  of  the  river  of  LiXsi'wae  and  called  SE'nLae- 
Then  he  paddled  to  O's’eq  and  called  He'ilik-inakula;  then  to  Xa/lax- 
Lala  near  the  mouth  of  Ts’a/wate  and  called  Ya/xLEn. 

Meanwhile  the  child  of  Xemo'gwis  was  clubbing  and  harpooning 
seals  for  his  father’s  feast.  His  house  was  already  full  of  sea  otter 
furs,  which  were  used  for  blankets  by  the  people  of  old.  They  were 
sewed  together.  Now  the  tribes  gathered.  He  met  his  guests  and 
distributed  seals  among  them.  He  gave  them  their  seats  and  gave  his 
gifts  to  the  chiefs.  Xemo'gwis  kept  for  them  the  belly  part.  He  gave 
the  hind  legs  to  the  chiefs  of  another  tribe.  He  gave  the  flippers  to 
the  second-class  chiefs,  and  the  bodies  to  the  common  people.  He  gave 
each  clan  its  place.  He  gave  the  bellies  to  the  highest  chief.  He  bit 
off  these  parts  and  had  messengers  to  pass  them  on  to  his  guests.  It 
is  said  he  bit  off  whatever  he  gave  to  his  guests.  Then  he  was 
called  Walas  Xemo'gwis  and  he  called  his  successor  O’maxt’a'laLe. 
Then  he  gave  out  the  blankets  to  all  the  clans,  giving  the  law  for  later 
generations.  Some  of  the  guests  stayed  with  him  and  became  his 
tribe. 

Xow  O’maxt’a'laLe  said  to  his  father:  “I  shall  go  a little  farther  this 
time.  Do  not  expect  me;  but  first  I will  go  bathing.”  Then 
O’maxt’a'laLe  went  in  the  morning.  After  he  had  bathed  he  heard  the 
sound  of  adzes.  He  made  up  his  mind  to  look  where  the  sound  came 
from,  because  the  sound  was  near  when  he  first  heard  it.  But  it  moved 
away  as  he  followed  it  and  O’maxt’a/laLe  came  to  a pond.  He  bathed 
again  and  the  sound  came  still  nearer.  He  followed  the  sound,  which 
was  going  before  him.  He  came  to  another  pond  and  bathed  again. 
Then  the  sound  of  adzes  came  still  nearer.  He  followed  it  as  it  went 
before  him.  Xow  he  found  still  another  pond.  He  bathed,  and  the 
sound  came  still  nearer.  He  went  toward  it  and  now  he  saw  a canoe. 
A man  was  sitting  in  the  canoe  working  on  it  with  his  adze.  In  the 
bow  of  the  canoe  lay  a harpoon  shaft  and  two  paddles.  O’maxt’a/laLe 
stood  behind  the  man.  He  was  the  grouse.  Then  O’maxt’a/laLe  spoke.: 
“ Thank  you,  that  I have  found  what  you  are  working  on.”  The 
grouse  looked  at  him  and  disappeared.  Thus  O’maxt’a/laLe  found  the 
canoe,  the  harpoon  shaft,  and  the  paddle. 

Then  he  put  his  nettle  line  into  his  canoe.  He  and  his  uncle 
L’o'L’awatsa  went  out.  He  went  across  the  Sound  trying  to  reach 
Xoomas  Island.  Then  he  saw  a canoe  coming  from  YaaiXugiwano. 
They  met  at  Xoomas  Island,  and  held  the  sides  of  each  other’s  canoe. 


384 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


“Good  day,  brother,”  said  O’maxt’a'laLe  to  Qa'watiliqala,  “I  do  not 
come  without  purpose.  My  father  sent  me,  because  you  are  the  only 
one  whose  daughter  I will  marry.”  Qa'watiliqala  replied:  “Paddle 
behind  me  and  follow  me  to  my  house.”  O’maxt’a'laLe  said:  “I  will 
give  you  my  harpoon  line,  friend,  my  nettle  line,  my  harpoon  shaft,  and 
my  mat.”  Qa'watiliqala  then  gave  his  leather  line  to  his  brother  and 
they  exchanged  their  canoes  and  everything  in  the  canoes  that  they 
used.  Then  O’maxt’H/laLe  said:  “Let  us  go  back.  That  smoke 
belongs  to  our  house.”  “No,”  replied  Qa'watiliqala,  “Let  us  go  on  to 
my  house.  You  said  you  wanted  to  be  engaged  to  my  daughter.” 
Then  the  two  paddled  side  by  side  together.  They  reached  the  lower 
part  of  the  river  at  Gua'e.  “Take  care,  brother,  when  we  enter  my 
house.  When  we  enter  my  house,  follow  close  on  my  heels,”  said 
Qa'watiliqala.  He  told  his  brother  that  the  door  of  his  house  was  dan- 
gerous. They  walked  up  to  the  door  together.  The  door  had  the 
shape  of  a raven.  It  opened  and  they  jumped  in  and  the  raven 
snapped  at  him.  All  the  images  in  Qa/watiliq  ala’s  house  were  alive, 
the  posts  were  alive,  and  the  si'siuL  beams.  Then  O’maxt’a'laLe  mar- 
ried Wilx-stasllayuqoa,  the  daughter  of  Qa/watiliqala.  The  house  and 
the  images  and  all  kinds  of  food  were  given  him  in  marriage,  and  blan- 
kets of  lynx,  marmot,  wolverine,  mink,  and  dressed  elk  skins.  Then 
his  father-in  law  and  his  tribe  brought  him  home.  They  brought 
everything,  also  the  house.  He  built  a house  at  K*’a'qa.  That  is  why 
the  place  is  called  IG’a'qa,  because  logs  were  placed  all  around  for  the 
foundation  of  the  house  which  he  had  obtained  in  marriage.  Then 
Omaxt’a/laLe  invited  all  the  tribes  with  what  he  had  obtained  in  mar- 
riage from  his  wife.  (See  Appendix  p.  675.) 

In  the  feast  referred  to  in  the  preceding  legend  NEmo'gwis  is  said  to 
have  given  each  of  his  guests  his  seat,  which  their  descendants  have 
retained.  He  also  arranged  how  the  parts  of  the  seal  with  which  he 
fed  his  guests  were  to  be  distributed.  The  chest  was  given  to  the  head 
chief,  the  next  in  rank  received  the  hind  flippers,  and  the  young  men 
of  the  nobility  the  fore  flippers.  He  also  instituted  at  the  feast  the 
laws  according  to  which  blankets  are  given  away  and  returned  later  on. 

This  legend  is  so  important  that  I will  give  another  version  which  I 
obtained  at  Fort  Rupert : 

NEmo'gwis  lived  in  a village  at  Wekawayaas.  He  was  the  ancestor 
of  the  GTg'ilqam  of  the  Q’o'moyue.  He  wore  the -sun  mask  on  his 
face.  He  had  a slave  named  ^o^atsa  and  had  a boy.  This  son  was 
growing  up  quickly  and  he  came  to  be  a man.  Now  NEmo'gwis  took 
a walk  and  saw  a village  at  Ta'yaguL.  There  he  saw  a man  who  wore 
a bird  mask  sitting  on  the  ground.  The  mask  had  a small  hooked  nose. 
Then  NEmo'gwis  spoke  to  him:  “O  brother!  thank  you  for  meeting 
me  here.  Who  are  you?”  The  other  one  replied,  “1  am  Ts’E'nXqaio, 
brother.”  Then  NEmo'gwis  asked  Ts’E'nXqaio:  “Who  is  living  in  the 
house  beyond?”  Ts’E'nXqaio  replied : “I  do  not  know  him.”  NEmo'- 
gwis walked  on  to  the  east  end  of  Ta'yaguL,  where  the  other  house  was 


THE  KWAKIUTL  INDIANS. 


385 


standing.  He  discovered  an  old  man  sitting  outside  the  house.  He 
wore  a bird  mask.  XEmo'gwis  spoke : “ O,  brother  I thank  you  for  meet- 
ing me  here.  Who  are  you?”  The  old  man  replied:  “I  am  La/laX- 
SEnt’aio.”  Then  XEmo'gwis  asked  him : “ Who  is  living  in  the  house  at 
the  river?”  La'laXsEnt’aio  replied:  “I  do  not  know  him.”  Then 
XEmo'gwis  walked  on  and  arrived  at  Tsa/xis.  There  he  beheld  a man 
sitting  on  the  summer  seat  outside  the  house,  and  XEmo'gwis  spoke  to 
him  and  said:  “O,  brother!  thank  you  for  meeting  me  here.  Who 
are  you?”  The  man  replied  at  once:  “I  am  Kuax-ilanb'kume  and  my 
tribe  are  the  GTgulqain.”  And  he  asked  XEmd'gwis:  “ Who  are  you, 
brother?  Where  is  your  village?”  XEmd'gwis  replied:  “I  am  XEino'- 
gwis.  My  younger  brother  is  Bo'nakwala.  We  and  my  son,  we  three, 
live  in  my  village,  Wekawayaas.”  Then  spoke  Kuaxuland'kume: 
‘‘Thank  you,  brother,  for  meeting  me  here.”  And  XEmd'gwis  went 
home  to  Wekawayaas.  When  he  arrived  there,  he  told  his  younger 
brother  and  his  son  what  he  had  seen. 

He  spoke  to  his  son:  “ O,  child,  see  the  sea  otters,  the  seals,  and  the 
sea  lions  on  Shell  Island.”  Then  his  son  wanted  to  go  there.  Bo'na- 
kwala  and  i;o'Tatsa  rolled  a drift  log  into  the  water.  The  son  of  XEmo'- 
gwis  was  to  use  it  in  place  of  a canoe.  They  brought  it  to  the  beach  in 
front  of  XEmo'gwis’s  house  and  showed  it  to  the  young  man.  He  sat 
on  top  of  it  and  went  to  the  island  in  order  to  club  sea  otters  and  seals. 
When  he  arrived  at  the  island  he  began  clubbing  the  sea  otters  and 
seals.  He  finished,  and  put  them  on  his  drift  log.  Then  he  went  home. 
Bo'nakwala  and  Tp'iatsa  met  him  on  the  beach  and  they  unloaded  the 
log.  XEmd'gwis  spoke:  “O,  child,  now  your  name  is  O’maxt’a'laLe  on 
account  of  your  game.”  He  invited  Ts’E'nXqaio  and  La'laXsEnt’aio 
and  Kuax-iland'kume  and  Ma'tag’ila.  The  four  men  came  to  the  house 
and  sat  down.  Then  Bo'nakwala  put  stones  into  the  fire  and  singed  the 
seal.  When  he  had  done  so,  he  cut  it  up.  He  filled  the  kettle  with 
water  and  then  threw  the  red-hot  stones  into  the  water  until  it  began  to 
boil.  Then  he  put  the  pieces  of  seal  meat  into  the  boiling  water  and 
added  more  red-hot  stones.  After  a short  while  the  seal  was  done. 
Bo'nakwala  took  the  meat  out  of  the  water,  and  XEmd'gwis  took  the 
breast  piece  first.  He  bit  it  and  gave  it  to  Ts’E'nXqaid,  saying:  “ You 
shall  always  be  the  first  one  to  receive  his  share,  and  you  shall  always 
have  the  breast  piece.”  Xext  he  took  the  hind  leg  and  gave  it  to 
Kuaxdlano'kume,  saying:  “ You  shall  always  have  this  piece,  and  it 
shall  be  given  to  you  next  to  Ts’E'nXqaid.”  Then  he  took  up  tbe 
foreleg  of  the  seal,  bit  it,  and  gave  it  to  Ma'tag-ila,  saying:  “You  shall 
always  have  this  piece.”  Then  he  gave  a whole  seal  to  Ts’EnXqaio, 
Kuax-iland'kume,  and  Ma'tag*ila,  and  told  them  thename  of  his  son.  He 
said:  “I  invited  you  to  show  you  my  son.  This  is  O’maxt’a'laLe.” 
Bo'nakwala  now  addressed  the  guests.  Therefore  the  people  nowa- 
days make  speeches  in  their  feasts,  because  XEino'gwis  began  making 
speeches  and  distributing  blankets  and  canoes  among  all  the  tribes. 

NAT  mu S 95 25 


386 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


After  the  feast  they  all  left  the  house.  Bo'nakwala  looked  for  a good 
log  of  cedar  wood.  He  found  one  and  brought  it  to  the  beach  in  front 
of  HEmo'guis’s  house.  When  the  tide  had  fallen,  he  burnt  its  ends  and 
the  middle,  thus  hollowing  it  out.  It  was  to  be  the  canoe  of  O’maxt’a/- 
laLe.  As  soon  as  it  was  completed,  he  gave  it  to  O’maxt’a/laLe.  The 
latter  went  at  once  to  Shell  Island  and  clubbed  sea  otters.  He  did  not 
club  any  hair  seals.  When  he  came  home,  Bo'nakwala  and  ^o^atsa 
skinned  the  sea  otters.  Then  Bo'nakwala  spoke:  “O,  child!  O’maxt’- 
a/laLe! I will  go  now.  Do  not  feel  uneasy  if  I should  stay  away  long.” 
O’maxt’a/laLe  replied : “ Go  on,  but  take  good  care  of  yourself.”  His 
uncle  Bo'nakwala  went  and  came  to  Ga/yux.  At  night  he  bathed  in 
water  and  rubbed  his  body  with  hemlock  branches.  On  the  folio  wing 
morning  he  went  on  and  heard  the  sound  of  an  adze  close  to  where  he 
was.  He  went  up  to  the  sound.  Then  it  stopped,  and  reappeared  a 
long  ways  off.  Then  Bo'nakwala  went  again,  and  bathed  in  the  water 
and  rubbed  his  body  with  hemlock  branches.  He  went  on  and  again 
he  heard  the  sound  of  an  adze  near  by.  He  went  to  see  what  it  was, 
and  again  the  sound  stopped  and  reappeared  a long  ways  off.  He 
went  at  once  to  the  water  and  bathed  again  and  rubbed  his  body  with 
hemlock  branches.  He  went  on  and  heard  again  the  sound  of  an  adze 
near  by.  When  he  went  up  to  the  sound  it  stopped,  and  reappeared  a 
long  ways  off.  Again  he  bathed  and  rubbed  his  body  with  hemlock 
branches.  When  he  had  finished,  he  went  on  and  suddenly  he  beheld 
a pretty  hunting  canoe  lying  on  the  ground.  He  went  up  to  it  and 
pushed  it  into  the  water,  into  the  river  of  Ga/yux.  He  went  in  it  down 
the  river.  In  the  canoe  were  two  paddles  and  a harpoon.  He  rested 
at  the  mouth  of  the  river  and  then  paddled  home  to  Wekawayaas. 
When  he  arrived  at  the  beach  of  HEmd'gwis’s  house,  O’maxt’a/laLe  came 
down  to  meet  him.  Then  Bo'nakwala  spoke:  “O,  child,  I obtained  a 
canoe  for  you.”  O’maxt’a/iaLe  made  ready  at  once  to  go  to  Shell 
Island  and  asked  the  slave  T;o/riatsa  to  steer  the  canoe.  They  started, 
and  when  they  arrived  at  Shell  Island,  O’maxt’a/laLe  clubbed  the  sea 
otters.  Then  he  loaded  his  canoe,  which  was  full  of  sea  otters.  When 
they  were  going  home,  the  slave  said:  “O,  master, let  me  see  how  you 
spear  a sea  otter  with  your  harpoon.”  Then  O’maxt’a/laLe  said : i ‘Steer 
toward  that  sea  otter  and  I will  spear  it.”  The  slave  turned  the  bow 
of  the  canoe  toward  the  sea  otter  and  O’maxt’a/laLe  threw  and  hit  it. 
Then  they  returned  home.  When  they  arrived  at  the  beach,  Bo'na- 
kwala  came  to  meet  them.  They  unloaded  the  canoe,  and  Bo'nakwala 
and  Tio^atsa  skinned  the  sea  otters  and  stretched  the  skins.  After 
that  they  ate.  Then  O’maxt’a/laLe  spoke:  “O,  father!  I will  go  and 
see  who  lives  east  of  us.”  KEino'gwis  replied:  “Child,  beware  of 
storms  when  you  cross  the  sea.  Go,  and  take  nco^atsa  along.”  Early 
the  next  day  O’maxt’a/laLe  and  qpAatsa  started.  They  spread  the 
sea-otter  skins  over  the  bottom  of  their  canoe  and  paddled  straight 
across  to  the  north  end  of  the  island  at  the  mouth  of  Knight  Inlet. 


THE  KWAKIUTL  INDIANS. 


387 


When  he  approached  YaaiXugiwano,  he  saw  a canoe  with  two  men 
coming  np.  O’maxt’a/laLe  paddled  toward  this  canoe.  When  the 
canoes  were  side  by  side,  the  men  took  hold  of  each  other’s  gunwale 
and  O’maxt’a/laLe  said:  “ Where  are  you  going,  brother?”  The  one 
in  the  bow  of  the  other  canoe  replied:  “ Brother,  I am  hunting  among 
these  islands  here.  I thank  you  for  meeting  me  here.  I am  Qa/wati- 
liqala.  Who  are  you,  brother?”  O’maxt’a/laLe  replied : “Thank  you, 
brother,  for  meeting  me  here.  I am  O’maxt’a/laLe.  Let  us  go  to  my 
house,  the  smoke  of  which  we  see  there  on  the  other  side.  It  is  not  far. 
Come,  take  my  canoe;  it  is  yours  now.”  Then  Qa/watiliqala  spoke: 
“Brother,  now  this  my  canoe  is  yours  and  everything  that  is  in  it.” 
He  meant  the  mountain  goat  skins  with  which  it  was  covered  and  his 
harpoon.  But  O’maxt’a/laLe’s  canoe  was  all  covered  with  sea-otter 
skins.  His  blanket  was  made  of  sea  otter  and  his  harpoon  line  of  the 
guts  of  the  sea  lion,  while  Qa/watiliqala’s  line  was  of  cedar  bark  and 
his  blanket  made  of  mountain  goat  skin.  O’maxt’a'laLe  spoke : “Thank 
you,  brother.  Now  come  across  to  your  canoe  and  let  me  go  into  the 
canoe  you  gave  me.”  Qa/watiliqala  arose  and  went  into  O’maxt’a/- 
laLe’s  canoe,  and  O’maxt’a/laLe  arose  and  went  into  Qa/watiliqala’s 
canoe.  This  was  as  though  they  had  exchanged  their  hearts  so  that 
they  had  only  one  heart  now. 

Then  Qa/watiliqala  spoke:  “That  is  done.  Now,  brother,  come  to 
my  house.  It  is  beyond  this  point.”  They  paddled  on,  and  when  they 
had  nearly  reached  Qa/watiliq ala’s  house,  he  said : “Brother,  take  care. 
When  I jump  into  my  house,  you  and  your  slave  must  jump  in  at  the 
same  time.”  Now  they  arrived  at  the  beach  in  front  of  the  house  of 
Qa/watiliqala.  They  went  ashore  and  walked  up  to  the  house.  When 
they  arrived  in  front  of  the  house,  the  mouth  of  the  door  of  Qa/watili- 
qala’s house  opened.  They  jumped  in  all  at  the  same  time  and  it  bit 
only  a corner  of  Lo'Latsa’s  blanket.  Then  the  posts  at  the  sides  of  the 
door  spoke,  and  the  one  to  the  right-hand  side  said:  “You  made  them 
come  to  your  house,  Qa/watiliqala;”  and  the  post  on  the  left-hand  side 
said : “ Now  spread  a mat  and  give  your  guests  to  eat,  Chief.”  It  is  said 
that  the  cross-beams  over  the  rear  posts  were  double-headed  snakes 
(sI'siuL),  which  were  constantly  playing  with  their  tongues.  The  posts 
in  the  rear  of  the  house  were  wolves,  and  a grizzly  bear  was  under  each 
of  the  wolves.  Carved  images  were  all  round  the  house.  O’maxt’a/laL 
and  Lo'Latsa  were  sitting  in  the  house  and  were  given  mountain  goat 
meat  to  eat.  When  they  had  finished  eating,  the  speaker  of  the  house 
said:  “What  do  you  want  here?”  Now  O’maxt’a/laLe  beheld  the 
daughter  of  Qa/watiliqala,  who  was  sitting  in  the  rear  of  the  house. 
He  thought:  “ I will  say  that  I came  to  marry  her.”  Then  the  thought 
hearer  of  the  house  spoke:  “Chief  O’maxt’a/laLe  came  to  marry  Qa/wa- 
tiliqala’s princess.”  Qa/watiliqala  said  at  once : “ O,  brother ! thank  you 
that  you  want  to  marry  my  daughter.  It  has  been  my  desire  that 
you  should  marry  her,  brother  O’maxt’a/laLe.  Now  you  marry  my  prin- 
cess and  you  shall  have  this  house  for  your  house  as  a gift  from  your 


388 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


wife  and  the  great  wolf  dance  Walas’axa'.1 2  Its  names  are  G-alg*ayalis 
and  G-alqEmalis  and  QEino'ta’yalis  and  QEmotilelag-ilis,  and  your  sum- 
mer names  will  be  NEg-e'  and  Neg-e'ts’e  and  Qoaxo'L  and  G-’Tg’ESLEn. 
The  great  dance  W alas’axa'  has  forty  songs.  You  will  use  this  house  for 
the  celebration  of  the  winter  ceremonial,  my  son-in-law.  That  is  all.’7 
Thus  spoke  Qa/watiliqala  to  O’maxt’a/laLe.  The  latter  replied : “ Thank 
you,  Chief  Qa/watiliqala.  I am  glad  on  account  of  your  speech,  fatlier- 
in-law.  Now  teach  me  the  songs  of  the  dance  Walas’axa7,  for  I will  at 
once  invite  all  the  tribes  when  I reach  home.”  Thus  spoke  O’maxt’a/- 
laLe. 

The  speaker  of  the  house  said:  “O,  Chief  Qa/watiliqala!  Let  us 
have  the  winter  ceremonial  to-night,  that  our  son-in  law  may  see  our 
ways.”  Qa/watiliqala  answered:  “My  speaker,  your  advice  is  good,” 
and,  turning  to  the  wolf  posts  of  the  house,  he  continued:  “Now  take 
care,  friends,  you,  Q.Emo'ta’yalis,  and  you,  QEmotilElagfilis.  Howl,  that 
our  friends  G-alalaLila  and  his  children  may  come.”  When  he  had 
finished,  O’maxt’a/laLe  said  : “O,  father-in-law  ! I now  invite  you  and 
your  tribe  to  bring  my  house,  myself,  and  my  wife  to  my  place.  I can 
not  withstand  your  words,  father-in-law ! I say,  thank  you ! Now  let 
me  watch  your  supernatural  dances  to-night,  else  I shall  not  know 
what  you  are  doing  in  this  great  dance.” 

At  night  the  speaker  of  the  house  said:  “Now,  magicians,  howl! 
that  G’alalaLila  and  his  children  may  come.”  Then  QEmo'ta’yalis  and 
QEmotilElag-ilis,  the  posts  of  the  house,  howled  four  times  each.  At 
once  a howl  like  theirs  was  heard  back  of  the  house.  Then  Qa/watili- 
qala called  his  tribe,  the  ancestors  of  the  Ts’a/watEenox.  They  entered 
their  chief’s  house,  and  as  soon  as  they  bad  assembled  the  wolves  came 
in.  All  the  men  cried:  “Yihil,  hu,  hu,  hu,  hu,  hu!”  Four  times  they 
did  so,  and  then  they  sang: 

I. 

1.  He  was  made  to  sit  between  the  wolves,  hai. 

2.  He  was  taken  around  the  world  by  Lallstalaqa,  the  wolf,  hai. 

II. 

For  four  years  I was  coming  home.  Then  Ma/t’Em  took  me  away. 

III. 

1.  My  poor  younger  brother,  TfiaukuedanuLas,  who  lives  on  the  other  side,  lies  ihi  a, 
for  you  said  long  ago  that  he  was  the  first  to  show  the  wolf  dance,  my  younger 
brother,  riariukuedanuLas,  who  lives  on  the  other  side,  i hayo  ihi,  iyiho  o,  ihi,  iyiho, 
6 iyi,  hayo,  o,  ihi,  iyiho,  6,  iyi,  ihi,  iyiho,  o. 

2.  My  poor  younger  brother  pamtalaL  the  T’Ena'xtax,  lies,  ihi  a,  for  you  said  that 
long  ago  he  was  the  first  to  show  the  wolf  dance,  my  younger  brother,  pamtalaL 
the  T’Ena'xtax,  i hayo  ihi,  iyiho  o,  ihi,  iyiho,  6 iyi,  hayo,  o,  ihi,  iyiho,  o,  iyi,  iyiho,  o. 


1.  Come,  come,  come,  come  and  make  Jove  to  the  son  of  the  wolf  ! Come ! yihi,  yihi, 
i i,  wo  o o o o 6. 

2.  LeLatalaendx,  the  wolf,  has  been  all  around  the  right-hand  side  of  the  world. 


See  page  477, 


THE  KWAKIUTL  INDIANS.  389 

These  are  all  the  songs  I know.  If  you  will  go  to  the  Ts7a/watEenox 
you  can  learn  all  the  forty  songs  of  the  Walas'axa/. 

When  the  dance  of  the  wolves  was  at  an  end,  Qa/watiliqala  said  : 
“ O,  friends,  I invited  you,  my  tribe,  that  you  may  know  that  I give  my 
daughter  in  marriage  to  O’maxt’a/laLe,  chief  of  the  G-Lg-ilqam  on  the 
other  side.  Now  let  us  go  and  take  our  son-in-law,  his  wife,  and  his 
house  home.  And  he  shall  take  this  great  dance.  Let  us  go  to- 
morrow !77  Then  the  people  left  the  house  and  the  next  day  they  made 
ready  to  start.  They  went  across,  taking  the  house  and  Qa'watiliqala’s 
daughter.  They  stopped  at  Ga/yuX.  They  built  a foundation  of  drift 
logs.  In  four  days  they  finished  the  house. 

Then  O’maxtWlaLe  went  to  tell  his  father  XEmo'gwis.  He  entered 
the  house  and  said:  “Come,  father!  let  us  go  to  my  house  at  Ga/yux. 
I have  married  the  daughter  of  Qa/watiliqala.  I brought  my  father- 
in-law  and  his  tribe,  and  also  the  house  and  the  great  dance  Walas7- 
axa',  and  a great  box  and  three  baskets.  I do  not  know  what  is  in 
them.77  XEmo'gwis  replied : “Let  us  invite  Ts’E'nXqaio  and  La/laX- 
SEnt7aio  and  Kuax-ilano'kumae,  that  they  may  see  your  house.77  And 
he  sent  Bo'nakwala  to  invite  the  tribes.  Then  07maxt7a/laLe  and  his 
father  went,  and  O’maxt’a/laLe  said : “Take  care,  father ! As  soon  as  I 
jump  through  the  door  of  my  house  you  jump  with  me.77  When  they 
arrived  at  the  house,  the  mouth  of  the  door  opened  and  the  father  and 
son  jumped  in.  Then  the  posts  said:  “Go  on!  greet  them  who  come 
into  your  house,  Chief!77  NEmo'gwis  spoke:  “Welcome,  Brother  Qa/wa- 
tiliqala. I have  heard  about  you.  I thank  you  for  having  given  your 
daughter  and  your  house  to  my  son.77  Qa/watiliqala  replied:  “O, 
brother,  I am  glad  that  I have  seen  you.  From  now  on  your  name 
will  be  Great  XEmo'gwis  (Wa/las  NEino'gwis).  This  box  filled  with 
curried  skin  blankets  is  for  you,  and  the  basket  filled  with  marten 
skins,  the  one  filled  with  mink  skins,  and  this  one  filled  with  lynx 
blankets.77  Then  07maxt7a/laLe  left  his  house,  because  he  heard  men 
speaking  outside.  He  saw  his  uncle  Bo'nakwala  and  the  guests  whom 
he  had  invited.  Then  O’maxt’a'laLe  said:  “Now  let  us  jump  into  my 
house  all  at  the  same  time.77  When  they  were  all  ready,  the  door 
opened  and  they  all  jumped  in.  Then  the  posts  spoke:  “Go  on ! greet 
them  who  come  into  your  house,  Chief!77  The  guests  sat  down,  and 
were  given  to  eat.  When  they  had  finished,  they  performed  the  winter 
ceremonial.  O’maxt’a/laLe  showed  the  Walas’axa'.  Afterwards  he 
gave  sea  otters  to  Qa/watiliqala’s  tribe,  and  he  gave  blankets  made  of 
curried  leather,  marten  blankets,  mink  blankets,  and  lynx  blankets  to 
Ts’E'nXqaio,  La/laxsEnt7aio,  and  Kuax-ilano'kumae.  His  winter  dance 
lasted  four  days.  He  was  the  first  who  gave  away  blankets  to  all  the 
tribes,  and  who  gave  a seal  feast.  That  is  the  end. 

Before  leaving  this  subject  I must  mention  that  all  the  clans  authen- 
ticate the  claim  to  their  rank  and  to  the  greatness  of  their  ancestor  by 
telling  of  a meeting  between  him  and  one  of  the  two  deities  which 
prevail  in  the  mythology  of  these  tribes,  Q’a/nig*ilaku  in  the  Xewettee 


390 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


group,  and  Kuekuaxa/oe  among  the  other  tribes.  The  La'lauiLEla  of 
the  La'Lasiqoala,  for  instance,  say  that  their  ancestor,  XomasE'nxelis, 
knew  that  Q’a/nig-ilak11  was  coming.  Then  he  told  his  son  LExx-a'lix-i- 
la’yuto  go  to  Xu'spalis  (XewetteeBar)  and  there  to  await  Q’a/nig-ilaku’s 
arrival.  He  himself  remained,  and  was  transformed  by  Q’a/nig-ilak11 
into  a stone,  which  may  still  be  seen  on  Hope  Island.  LExx-a'lix-ila’yu 
went  to  Xn/spalis,  but  Q’a/nig-ilak11  did  not  molest  him,  because  he  was 
afraid  of  him. 

The  G-Ug-ilqam  of  the  same  tribe  say  that  he  met  0/?meaL,  who 
pointed  his  forefinger  at  him  when  he  sawhim  coming.  At  once  his  head 
was  perforated.  Q’a/nig-ilak11  retaliated,  and 
they  saw  that  they  were  equally  strong. 

I do  not  need  to  enter  into  these  legends 
any  farther,  because  they  are  all  of  the  same 
character  and  are  merely  intended  to  show 
that  the  ancestors  of  these  clans  were  pres- 
ent at  the  time  of  the  transformation  of  men 
into  animals,  and  that  they  were  as  strong 
as  the  deity  himself.  For  the  details  of  the 
Q’a'nig-ilak11  legend  I refer  to  my  book.1 

With  this  I will  leave  the  clan  legends  and 
their  connection  with  the  crest  and  the  pot- 
latch. Incidentally  I will  mention  here  that 
figures  commemorating  distributions  of 
property,  the  breaking  of  coppers,  and 
grease  feasts  are  often  placed  on  top  of  the 
house  or  on  the  poles.  To  this  class  belongs 
the  statue  of  the  speaker  under  the  sun 
mask  (fig.  1,  p.  338),  and  the  speaker  on  top  of 
a house  in  Alert  Bay  (fig.  25).  Other  statues 
of  the  same  class  are  shown  in  Plate  18, 
representing  a chief  who  gives  away  coppers  in  a feast,  and  Plate  19, 
representing  a chief  breaking  a copper.  This  last  figure  is  placed  on 
top  of  the  house  at  the  time  when  the  father-in-law  refunds  the  purchase 
money  with  which  his  daughter  has  been  bought. 

In  order  to  convey  a better  idea  of  the  arrangement  of  the  whole  vil- 
lage, I give  here  a sketch  of  the  village  of  Xewettee  as  it  appeared  in 
1886  from  a sketch  taken  by  myself  at  that  time  (fig.  26).  The  names 
printed  in  Boinan  letters  designate  the  names  of  the  houses,  those  in 
Italics  names  of  mountains  on  Galiano  Island,  and  the  one  in  Italic  capi- 
tals is  the  name  of  the  bay.  The  house  W a/tsuxnioa  will  be  recognized 
as  fig.  17  (p.  377).  The  post  in  front  of  it  is  shown  in  fig.  21  (p.  380). 

I have  referred  several  times  to  the  fact  that  the  clans  also  have 
peculiar  carvings  which  are  used  as  dishes.  A few  of  these  are  repre- 
sented on  Plates  20  and  21  and  in  figs.  27-34.  The  dish  shown  in  the 
upper  figure  of  Plate  20  represents  the  Ts’o'noqoa  (see  figs.  13  and  14, 

1 “Indianische  Sagen  von  der  Nord-Pacitisclien  Kiiste,”  Berlin,  1895,  p.  194. 


STATUE  OF  SPEAKER  TALKING  to 
THE  PEOPLE. 

Alert  Bay. 

From  a sketch  by  the  author. 


Report  of  U.  S National  Museum,  1895. — Boas. 


Plate  18. 


Statue  of  Chief  Selling  a Copper, 

From  A.  Bastian,  “Northwest  Coast  of  America.” 

Original  in  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 


Report  of  U.  S.  National  Museum,  1895. — Boas 


Plate  19. 


Statue  of  Chief  breaking  a Copper. 

From  A.  Bastian,  “Northwest  Coast  of  America.” 

Original  in  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 


' 


Report  of  U.  S.  Nationai  Musei 


895. — Boas. 


Plate  20. 


Carved  Dishes  used  by  the  Fort  Rupert  Indians. 

IV  A 1116,  1518.  1522,  1519,  1526,  430,  and  561,  Royal  Ethnographical  Museum,  Berlin. 


EXPLANATION  OF  PLATE  21. 


Fig.  1 
Fig.  2 
Fig.  3 
Fig.  4 
Fig.  5 


1 

2 

3 

4 5 

Carved  Dishes  of  the  Fort  Rupert  Indians. 
. Representation  of  the  Sea  Otter. 

(IY  A 1520,  Royal  Ethnographical  Museum,  Berlin.) 

. Representation  of  the  Crane. 

(IY  A 1523,  Royal  Ethnographical  Museum,  Berlin.) 

(IY  A 1525,  Royal  Ethnographical  Museum,  Berlin.) 

. Representation  of  the  Bear. 

(IY  A 1527,  Royal  Ethnographical  Museum,  Berlin.) 

. Representation  of  a Man. 

(IY  A 1528,  Royal  Ethnographical  Museum,  Berlin.) 


Report  of  U.  S.  National  Museum,  1895. — Boas. 


Plate  21 


Carved  Dishes  used  by  the  Fort  Rupert  Indians. 


THE  KWAKIUTL  INDIANS. 


391 


O'matsEms.  WatsuxCuoa.  Kina'n’amas.  Qa'LEmpaias.  OKTJITJA'LE. 

We'xoeoa.  KaxaxzcL.  za'sota. 

Fig.  26. 


392 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


Fig.  27. 

FOOD  TRAY. 

Haida. 

52,  U.  S.  N.  M.  Collected  by  James  G.  Swan. 


p.  372).  That  shown  in  the  next  figure  on  the  left  of  the  same  plate 
represents  a man  and  a snake. 

From  the  fact  that  so  many  carvings  have  reference  to  the  clan  totem 
we  must  not  conclude  that  each  and  every  animal  or  human  figure  found 

on  any  implement  has  the  same 
meaning.  It  seems  to  me  that  the 
strong  impulse  which  the  art  of 
these  people  received  from  the  devel- 
opment of  totemistic  ideas  must 
have  resulted  in  the  general  appli- 
cation of  animal  designs  for  decora- 
tive purposes.  That  this  is  the  case 
may  be  seen  particularly  in  the  case 
of  dishes.  The  most  favorite  designs 
for  dishes  all  over  the  cultural  area 
to  which  the  Kwakiutl  belong  are 
the  seal  and  the  canoe.  The  seal  is  not  a totem  animal,  but  merely  the 
symbol  of  plenty,  as  no  animal  of  its  size  furnishes  a larger  amount  of 
meat  and  fat.  Therefore  the  seal  feast  is  also  reserved  for  the  highest 
tribes  of  the  Kwakiutl.  The  seal 
design  is  used  by  each  and  every 
tribe  and  by  each  and  every  clan. 

The  same  is  often  the  case  with 
the  sea-lion  design.  I have 
selected  a number  of  the  most 
characteristic  seal  dishes  (figs.  28, 

29,  30),  and  also  a sea-lion  dish 
(fig.  31).  The  dish  represented 
in  fig.  30  shows  the  very  character- 
istic change  of  style  whicli  takes 
place  in  the  extreme  north,  begin- 
ning at  Yakutat.  The  deep,  round  forms  become  flatter  and  wider 
and  the  carving  is  less  elaborate.  The  idea  underlying  the  canoe  dish 
is  evidently  that  a great  abundance  of  food,  a canoe  load,  is  to  be  given 

to  the  guests  (figs.  32,  33,  34).  The 
canoe  dish  develops  into  a number 
of  animal  forms,  mainly  through  the 
influence  of  canoe  decorations. 
The  canoe  is  often  painted  so  as  to 
represent  a whole  animal.  This 
ornamentation  was  transferred  to 
the  dish  and  has  influenced  its  form 
considerably,  as  may  be  seen  in  fig. 
34.  I merely  adduce  these  examples 
in  order  to  show  that  not  all  ani- 
mal forms  have  necessarily  a totemistic  origin.  I think,  however,  that 
in  the  course  of  the  development  of  this  culture  the  preponderance  of 
animal  designs  which  were  originally  founded  on  totemism  must  have  by 


SEAL  DISH. 

Haida. 

U.  S.  National  Museum.  Collected  by  James  G.  Swan. 


Fig 

SEAL  DISH. 

Haida. 

).  89157,  U.  S.  N.  M.  Collected  by  James  G.  Swan. 


THE  KWAKIUTL  INDIANS. 


393 


a process  of  euhemerism  contributed  to  the  prolific  growth  of  the  totem. 
We  have  seen  that  the  tendency  to  decorate  objects  with  animal  designs 
was  fostered  by  an  art  which  was  applied  almost  exclusively  to  represen. 
tationsof  the  totem.  Thus  the  animal  became  the  dominating  decorative 
element.  The  force  of  an  alogy  must 
then  have  induced  the  people  to  in- 
terpret certain  animal  figures  which 
were  originally  only  decorative  on 
the  principle  of  totemism. 

Other  objects,  such  as  drums  (fig. 

35,  p.  395),  boxes,  house  posts,  etc., 
seem  to  be  exclusively  decorated  rig. 30. 

with  designs  representing  the  Vlasta** 

totem.  U.  S.  National  Museum. 

VI.  The  Spirits  Presiding  over  the  Religious  Ceremonial 

AND  THEIR  GlFTS. 

It  is  a common  feature  of  all  the  legends  referred  to  heretofore  that 
the  supernatural  powers  which  were  obtained  by  the  ancestors  became 
tbe  crest  of  a clan,  and  that  there  is  no  mention  of  an  immediate  rela- 
tion between  the  descendants  of  the  ancestor  and  his  crest.  We  have 
to  deal  only  with  legends  commemorating  the  early  history  of  the  clan. 
They  do  not  indicate  that  the  being  which  helped  the  ancestor  con- 
tinues to  protect  his  descendants. 

We  have  now  to  deal  with  another  class  of  legends  which  relate 
entirely  to  spirits  that  are  still  in  constant  contact  with  the  Indians, 
whom  they  endow  with  supernatural  powers.  In  order  to  gain  their 
help,  the  youth  must  prepare  himself  by  fasting  and  washing,  because 
only  the  pure  find  favor  with  them,  while  they  kill  the  impure. 
Every  young  man  endeavors  to  find  a protector  of  this  kind.  It  is 

clear  that  this  idea  corresponds 
exactly  to  the  manitou  of  the 
Algonquin  Indians,  and  that  we 
have  to  deal  here  with  the  ele- 
mentary idea  of  the  acquisition 
of  a guardian  spirit,  which  has 
attained  its  strongest  develop- 
ment in  America.  Its  specific 
character  on  the  North  Pacific 
Coast  lies  in  the  fact  that  the 
guardian  spirit  has  become  he- 
reditary. This  is  the  case 
among  the  northern  tribes  of  British  Columbia.  It  is  also  the  case 
among  the  Kwakiutl  and  among  the  Chinook.  When  the  youth  pre- 
pares to  meet  a guardian  spirit,  he  does  not  expect  to  find  any  but  those 
of  his  clan.  This  is  probably  the  reason  for  the  relatively  small  number 


394 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


Pig.  32. 

CANOE  DISH. 

Alaska. 

Cat.  No.  9250,  U.  S.  N.  M.  Collected  by  A.  H.  Hoff,  U.  S.  A. 


of  such  spirits— for  among  the  Indians  of  the  plains,  among  whom  each 
man  has  his  individual  spirit,  their  number  is  unlimited — and  it  has 
also  given  occasion  for  the  development  of  a more  elaborate  mythology 

relating  to  these  spirits. 

I shall  give  a list  and  brief  descrip- 
tions of  these  spirits  and  of  their  gifts. 

I.  Wlnadag'ilis  (=  making  war  all 
over  the  earth).  The  descriptions  of 
this  being  are  very  indefinite.  He  is 
a warrior  and  lives  in  the  far  north. 
He  travels  about  constantly  and  nevej* 
leaves  his  canoe.  So  far  as  I am  aware 
he  is  never  represented  in  masks  or 
other  carvings.  By  obtaining  his  pro- 
tection a youth  may  acquire  one  of  the  following  powers.  He  may 
become  a — 

(1)  T’o'X’uit,  who  is  invulnerable  and  has  power  over  the  sI'siuL, 
which  assists  him  and  his  friends  on  war  expeditions. 

(2)  Ma/maq’a.  The  ma/maq’a 
has  the  power  to  catch  the  in- 
visible disease  spirit,  which  is 
constantly  flying  through  the  air 
in  the  form  of  a worm . He  is  able 
to  throw  it  into  his  enemies,  who 
die  from  its  effects  at  once. 

(3)  Hawi'nalaL  ( = war  dancer), 
who  by  the  help  of  Wlna/lag-ilis  is 
insensible  to  the  pain  of  wounds 
and  can  not  be  killed,  may  he  be 
ever  so  severely  wounded. 

II.  BaxbakufilanuXsUwae  (the  first  one  to  eat  man  at  the  mouth  of  the 
river,  i.  e.,  in  the  north,  because  the  ocean  is  considered  a stream  running 
northward).  He  is  a cannibal  living  on  the  mountains  who  is  always  in 

pursuit  of  man . Bed  smoke  rises 
from  his  house.  His  servant  (or 
wife)  is  Q’o'minoqas  (=the  rich 
woman),  who  procures  food  for 
him.  He  has  a female  slave, 
K-finqalaLala,  who  also  procures 
food  for  him,  by  catching  men 
and  gathering  corpses.  Xear 
the  door,  in  his  house,  sits  his 
slave  Qoa'xqoaxualanuXsiwae, 
the  raven,  who  eats  the  eyes  of 
the  people  whom  his  master  has  devoured.  In  his  house  live  also  the 
ho'Xliok",  a fabulous  bird,  with  an  immensely  long  beak,  which  lives 
on  the  brains  of  men,  whose  skulls  he  fractures  with  his  beak,  and  the 


Pig.  33. 

CANOE  DISH  WITH  SEA-LION  DESIGN. 

U.  S.  National  Museum. 


Pig.  34. 

CANOE  DISH  WITH  ANIMAL  DESIGN. 

Alaska. 

Cat.  No.  9244,  U.  S.  N.  M.  Collected  by  A.  H.  Hoff,  U.  S.  A. 


THE  KWAKIUTL  INDIANS.  395 

cannibal  grizzly  bear.  Hai'alik-ilaL  is  described  as  one  of  bis  friends. 
A person  wbo  meets  him  or  one  of  his  suit  may  become  a — 

(1)  Ha'mats’a,  a cannibal,  into  whom  he  instills  the  desire  of  eating 
human  flesh,  and  who  devours  whomsoever  he  can  lay  his  hands  upon. 

(2)  Ha'mshamtsES,  a cannibal  of  less  violent  character. 

(3)  Xo'ntsistalaL,  who  is  able  to  devour  and  touch  fire  with  impunity. 

(4)  Na/ne  s BaxbakualanuXsI'wae,  the  grizzly  bear  of  the  cannibal 
spirit,  who  delights  in  killing  people  with  his  strong  paws. 

(5)  XVnqalaLala,  who  procures  human  flesh  for  the  ha/mats’a. 

(6)  Q’b'minoqa,  who  also  procures  human  flesh  for  the  ha/mats’a. 


(7)  Ho'Xhok7 8 9 * 11,  who  breaks  the  skulls  of  men. 

(8)  HakalikdlaL. 

(9)  Xa/naqaualiL(  = suurisedance), wliichisgivenbyBaxbakualanuX- 
sl'wae  and  Hai'alik-ilaL  jointly. 

III.  MatEm,  who  lives  on  the  top  of  steep  mountains.  It  is  a bird, 
and  bestows  the  faculty  of  flying. 

IV.  The  ghosts  who  bestow  the  power  of  returning  to  life  after  the 
person  has  been  killed. 

There  are  a considerable  number  of  others  of  less  importance  which 
I will  not  enumerate  here,  because  in.  many  cases  it  is  difficult  to 


396 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


describe  in  what  the  gift  of  the  spirit  consists.  This  difficulty  appears 
even  in  the  preceding  list  of  the  most  important  spirits. 

Owing  to  the  fact  that  these  spirits  are  hereditary,  their  gifts  are 
always  contained  in  the  legend  detailing  their  acquisition  by  the  ances- 
tor of  a clan.  The  principal  gifts  in  these  tales  are  the  magic  har- 
poon which  insures  success  in  sea-otter  hunting;  the  death  bringer 
which,  when  pointed  against  enemies,  kills  them ; the  water  of  life  which 
resuscitates  the  dead;  the  burning  fire  which,  when  pointed  against  an 
object,  burns  it;  and  a dance,  a song,  and  cries  which  are  peculiar  to 
the  spirit.  The  gift  of  this  dance  means  that  the  protege  of  the 
spirit  is  to  perform  the  same  dances  which  have  been  shown  to  him. 
In  these  dances  he  personates  the  spirit.  He  wears  his  mask  and  his 
ornaments.  Thus  the  dance  must  be  considered  a dramatic  perform- 
ance of  the  myth  relating  to  the  acquisition  of  the  spirit,  and  shows  to 
the  people  that  the  performer  by  his  visit  to  the  spirit  has  obtained 
his  powers  and  desires.  When  nowadays  a spirit  appears  to  a young 
Indian,  he  gives  him  the  same  dance,  and  the  youth  also  returns  from 
the  initiation  filled  with  the  powers  and  desires  of  the  spirit.  He 
authenticates  his  initiation  by  his  dance  in  the  same  way  as  his  mythi- 
cal ancestor  did. 

The  obtaining  of  the  magical  gifts  from  these  spirits  is  called 
Lo'koala,  while  the  person  who  has  obtained  them  becomes  nau'alak", 
supernatural,  which  is  also  the  quality  of  the  spirit  himself. 

The  ornaments  of  all  these  spirits  are  described  as  made  of  cedar 
bark,  which  is  dyed  red  in  the  juice  of  alder  bark.  They  appear  to  their 
devotees  only  in  winter,  and  therefore  the  dances  are  also  performed 
only  in  winter.  For  this  reason  they  may  conveniently  be  called  the 
winter  ceremonial.  I shall  revert  to  this  subject  more  fully  later  on. 

The  following  legend  of  the  origin  of  the  lia/mats’a  (told  by  the 
Ha/q’oaqtoq)  will  make  clearer  what  I have  said: 

The  first  of  the  Awl'k^’enox  lived  at  Wa/waLala.  Their  chief  was 
Ha/nwaqawe.  He  had  four  sons  who  were  mountain- goat  hunters. 
At  one  time  the  members  of  his  tribe  were  disappearing  one  after 
the  other  and  he  did  not  know  what  became  of  them.  Ha/nwaqawe 
wanted  to  eat  mountain-goat  meat.  His  sons  offered  to  go  out  hunt- 
ing. These  are  the  names  of  the  sons  of  Ha/nwaqawe:  Ta'wix'amaye 
and  Qoa/qoasililag-ilis,  and  Ha/qois,  and  the  name  of  the  youngest 
was  HuAilokue.  The  young  men  made  themselves  ready,  and  then 
Ha'nwaqawe  advised  them.  He  said:  “Do  not  enter  the  house  the 
smoke  of  which  looks  like  blood,  else  you  will  never  return  home. 
It  is  the  house  of  BaxbakualanuXsI'wae.  The  smoke  of  the  house 
of  the  goat  is  white;  go  there  when  you  see  it.  Do  not  go  to  the 
house  the  smoke  of  which  is  grey  on  one  side;  it  is  the  house  of 
the  grizzly  bear.  Else  harm  will  befall  you.  How  go,  my  sons,  and 
mind  what  I told  you.”  Ta'wix-amaye  replied:  “We  will  try  to  avoid 
misfortune.’7  The  young  men  left  early  in  the  morning.  About  noon 
they  discovered  the  grey  smoke  of  which  their  father  had  spoken. 
Ta7wix*amaye  spoke:  “How  let  us  see  if  our  father’s  advice  is  good. 


THE  KWAKIUTL  INDIANS. 


397 


Only  take  care,  dear  brothers,  that  no  harm  may  befall  us.”  They 
went  on  and  soon  they  met  the  grizzly  bear.  They  fought  with  him 
and  he  almost  killed  them,  but  finally  they  overcame  the  bear  and 
killed  him.  The  brothers  went  on.  At  night  they  slept.  In  the  morn- 
ing Ya/qois  awakened  his  brothers.  They  went  on  for  a long  time; 
then  Ta'wix-amaye  said:  “ My  dear  brothers,  do  you  see  that  smoke 
over  there?  That  is  what  our  father  meant  when  he  spoke  of  the 
bloody  smoke  of  the  house  of  BaxbakualanuXsi'wae.  Let  us  go 
there!”  They  walked  on  and  came  to  the  door  of  the  house.  It  was 
open  and  the  brothers  entered.  As  soon  as  they  came  in,  a woman 
called  them.  Ta'wix-amaye  stepped  up  to  her  and  the  woman  said: 
“I  am  rooted  to  the  floor.  I will  help  you.  This  house  into  which  you 
came  belongs  to  BaxbakualanuXsI'wae.  Now  do  as  I tell  you  and 
take  notice  of  what  you  will  see.  Dig  a deep  hole  in  that  corner  of 
this  house.  Then  put  stones  into  the  fire,  and  when  they  are  red-hot 
put  them  into  the  hole.”  When  the  brothers  had  done  so,  she  con- 
tinued: “Now  cover  the  hole  with  boards.  As  soon  as  Baxbakua- 
lanuXsffwae  comes  home  he  will  dance,  wearing  his  mask  on  his 
forehead.”  As  soon  as  the  brothers  had  finished  their  work  a whis- 
tling sound  was  heard.  Then  the  woman  said:  “Now sit  down.  I will 
say  that  I found  food,  that  he  may  not  see  what  we  have  planned.” 
BaxbakualanuXsi'wae  entered  crying  “hap.”  Then  the  ho'Xhok11 
and  QoaxqoaxualanuXsI'wae  began  to  shout.  BaxbakuFilanuXsi'wae 
lay  on  his  back.  His  body  was  covered  all  over  with  mouths.  Then 
he  arose.  He  became  excited  and  went  four  times  around  the  house 
crying  “hap.”  Then  he  went  into  his  bedroom  (ma/wiL).  As  soon 
as  BaxbakualanuXsT'wae  had  gone  in  there,  the  raven  with  feathers 
on  his  head  which  reached  down  to  his  waist  came  out  and  danced, 
going  around  the  fire.  The  raven  went  back  into  the  bedroom.  Then 
QoaxqoaxualanuXsI'wae  came  out  crying  “hap,  hap,  go'u,  go'u!”  and 
danced  around  the  fire.  Then  he  went  back  into  the  bedroom  and  out 
came  BaxbakualanuXsI'wae  crying,  “hap.”  He  danced  around  the 
fire  and  went  back  into  his  bedroom.  Then  came  the  ho'Xhok11  crying 
“ Hap,  hap,  ho,  ho.”  He  danced  around  the  fire  and  went  back  into  his 
bedroom.  Now  BaxbakualanuXsI'wae  and  his  four  k-knqalaLala,  and 
the  four  q’o'minoqa  came  out.  “Hap, hap,”  said  BaxbakualanuXsi'wae. 
The  kAnqalaLala  sang  and  said  “hoip,”  and  sometimes  the  q’bhninoqa 
sang  “liai,  hai,  hai,  hai.”  BaxbakualanuXsI'wae  danced.  As  soon  as 
he  came  to  the  hole  which  the  men  had  dug,  IVwix-amaye  pulled  away 
the  boards  with  which  it  was  covered.  BaxbakualanuXsI'wae  was 
looking  upward  while  he  was  dancing.  Then  he  fell  into  the  hole 
upon  the  red-hot  stones.  Then  they  covered  the  hole  up.  Now  he  was 
dead.  As  soon  as  he  died  all  the  kd'nqalaLala  and  q’o'minoqa  died 
also.  The  singers  also  fainted.  While  they  were  unable  to  see, 
Ta'wix-amaye  took  off  all  their  ornaments  of  red  cedar  bark.  He  took 
the  masks  and  the  ha/mats’a  pole  and  the  whistles.  The  old  woman 
told  him  what  to  do.  She  taught  him  the  song  of  BaxbakualanuXsff  wae. 


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REPORT  OF  NATIONAL  MUSEUM,  1895. 


When  Ta'wix'amaye  came  home, he  told  his  father  Xa/nwaqawe  what 
had  happened.  Xa/nwaqawe  went  at  once  to  see  BaxbakualanuXsI'- 
wae’s  house.  He  followed  his  sons.  When  they  arrived  at  the  house,  the 
woman  who  was  rooted  to  the  floor  gave  them  food  and  spoke:  “My 
dear,  Xa/nwaqawe,  you  shall  dance  and  keep  the  ha/inats’a  mask,  the 
raven  mask,  and  the  ho'Xhok"  mask,  and  the  BaxbakualanuXsI'wae 
mask,  and  all  the  different  kinds  of  red  cedar  bark.  The  q’o'minoqa 
shall  have  red  and  white  cedar  bark  mixed,  and  the  “Bear  inside  the 
door  of  this  house”  shall  have  whistles.  The  nbhiLtsistalaL  shall  have 
two  whistles  and  red  and  white  cedar  bark.  You  shall  also  see  how 
the  bedroom  (ma/wiL)  and  the  ha/mats’a  pole  are  made.  You  see  it 
there,  extending  through  the  roof.  Here,  take  the  whistles  of  Bax- 
bakualanuXsUwae.”  Thus  spoke  the  woman  to  Xa/nwaqawe.  Xow  the 
woman  taught  them  the  songs.  She  sang  the  song  of  the  head  mask. 
This  is  the  song: 

1.  The  ha/mats’a  mask  of  tlie  forehead,  the  ha/mats’a  mask  of  the  whole  world,  the 

pretty  mask  of  that  real  BaxbakualanuXsi'wae.  The  ha'mats’a  mask  of  the 
forehead,  the  ha/mats’a  mask  of  the  whole  word,  the  pretty  mask,  a ma  ma  ma 
me  ha  me. 

2.  The  ho'Xhoku  mask  of  the  forehead,  the  ho’Xhok11  mask  of  the  whole  world,  the 

pretty  mask  of  that  real  BaxbakualanuXsI'wae.  The  ho'Xhok11  mask  of  the 
forehead,  the  ho'Xhok"  mask  of  the  whole  world,  the  pretty  mask,  a ma  ma  ma 
me  ha  me. 

3.  The  raven  mask  of  the  forehead,  etc. 

4.  The  cannibal  mask  of  the  forehead,  etc. 

Then  the  woman  spoke:  “ These  are  the  songs  of  the  ha/mats’a  mask 
of  BaxbakualanuXsi'wae.  Xow  listen  to  the  song  of  q’o'minoqa.  You 
shall  know  that  she  always  goes  to  get  food  for  BaxbakualanuXsUwae. 
This  is  the  song : 

1.  QVminoqa  goes  with  me  around  the  whole  world.  Hiai,  hiai,  ai,  ai,  hiai,  hiai. 

Q’o’minSqa  walks  all  around  the  world.  Hiai,  hiai,  ai,  ai,  hiai,  hiai. 

2.  We  are  afraid  of  Q’o’minoqa’s  body  which  is  covered  with  blood.  Hiai,  hiai,  ai,  ai, 

hiai,  hiai.  Q’o’minoqa  is  feared  by  all  because  her  body  is  terrible.  Hiai,  hiai, 
ai,  ai,  hiai,  hiai. 

3.  Q’d'minoqa’s  cedar  bark  is  tied  on  to  you.  Hiai,  hiai,  ai,  ai,  hiai,  hiai.  The  red 

cedar  bark  of  the  whole  world  is  making  you  voracious.  Hiai,  hiai,  ai,  ai,  hiai, 
hiai. 

Then  the  woman  spoke  again:  “ That  is  the  song  of  q’o'minoqa. 
Thus  you  shall  do  whenever  you  initiate  a ha/mats’a;  then  the  q’o'mi- 
noqa  shall  carry  a corpse  on  her  arms  and  she  shall  feed  it  to  the 
ha/mats’a.”  Then  Xa/nwaqawe  spoke:  “My  dear,  go  and  teach  us  all 
you  can.  Tell  us  what  BaxbakualanuXsUwae  was  doing,  and  tell  us 
all  his  names.”  Then  the  woman  spoke:  “Xow  listen,  these  are  his 
names:  Qoa'lamk-aslag-ilis  (eating  alive  on  earth),  and  XoXdana  (eat- 
ing one  man),  and  Ta/nis  (ha/mats’a)  and  Xa/wiku  (having  eaten  one), 
and  La/weku  (having  swallowed),  and  LaxLaweku  (swallowing  while 
standing),  and  Ho'kwetaso  (wishing  to  be  tamed),  and  xoqamgasa/lagd- 
lis  (swallowing  skulls  on  earth),  and  xo'qameLa'lag-ilis  k’aso  Bax- 
bakualanuXsFwae  (the  real  BaxbakualanuXsfwae,  swallowing  skulls 


THE  KWAKIUTL  INDIANS. 


399 


on  earth),  and  Qedana  (eating  many).  And  these  are  the  names  of  the 
q’o'minoqa:  Na/wis  (alone  on  earth),  and  Lawis  k-aso  Baxbakualanu- 
Xsl'wae  (the  real  BaxbakualanuXsI'wae,  standing  on  earth). 

“ All  red  shall  be  the  cedar  bark  of  the  ha/mats’a,  and  white  and  red 
shall  be  the  cedar  bark  of  the  q’ohninbqa. 

“ And  this  is  the  song  of  the  kd'nqalaLala.”  Then  the  woman  sang: 

1.  Oh,  how  nicely  you  heal  your  ha’mats’a  by  your  song,  by  your  magical  means  of 

healing,  ma  me  hama  hame. 

2.  Oh,  how  nicely  you  sing  your  secret  song  for  your  ha/mats’a,  your  magical  secret 

song,  ma  me  hama  hame. 

3.  Oh,  how  nicely  you  sing  your  winter  ceremonial  songs  for  your  ha/mats’a,  your 

magical  winter  ceremonial  song,  ma  me  hama  hame. 

Then  the  woman  stopped  singing  and  spoke:  aThis  is  the  song  of 
the  k-knqalaLala.”  Then  Na/nwaqawe  asked  the  woman : “My  dear, 
now  tell  me  who  you  are?”  Then  she  laughed:  “Do  you  not  know  who 
I am?  I am  your  daughter.  Therefore  I resolved  to  teach  you  all  the 
secrets  of  the  ceremonial  of  BaxbakualanuXsI'wae.”  Then  Na/nwaqawe 
spoke : “ O,  my  dear ! Thanks,  that  I have  seen  you  again.  Now  let  us 
go  home.”  Then  the  woman  spoke : “ It  is  impossible  for  me  to  go  home, 
because  I am  rooted  to  the  ground  from  my  backside.  I know  it  is 
impossible  for  me  to  get  up  from  this  floor,  but  you  must  come  some- 
times to  see  me.”  Then  Na/nwaqawe  replied:  “Do  not  say  that,  child, 
for  I can  not  leave  you  behind.”  Na/nwaqawe  tried  to  dig  out  the 
root,  but  it  became  the  thicker  the  deeper  he  dug.  Then  Na/nwaqawe 
gave  up  digging  and  thought  he  would  cut  the  root,  but  the  woman 
said:  “Do  not  do  that,  my  dear,  else  I must  die.  It  is  best  that  you 
come  sometimes  to  see  me.”  Then  Na/nwaqawe  gave  it  up  and  the 
woman  spoke:  “Now  let  me  sing  the  song  of  the  nohintsistalaL.” 

Then  she  sang: 

1.  You  frightened  everyone  by  your  gifts,  magical  NC/nLtsista  dancer,  hla,  lua,  lila,  ya. 

2.  You  made  everyone  feel  uneasy  by  your  wild  cry,  magical  No'm/tsista  dancer,  hia, 

hla,  hla,  ya. 

3.  You  go  all  around  the  word,  magical  NbhiLtsista  dancer,  hla,  hia,  ya.  You  drive 

away  everyone  by  your  gifts,  magical  No'nLtsista  dancer,  hla,  hla,  hla,  ya,  ya,  hla, 

ya,  ya,  hla,  hla,  hia,  ya. 

The  woman  stopped  singing  and  spoke  to  Na/nwaqawe:  “As  soon  as 
you  get  home,  give  a winter  dance.  Let  Ta'wix-amaye  disappear,  he 
shall  be  ka/mats7a;  then  four  days  later  Qoa/qoasililag-ilis  shall  dis- 
appear. He  shall  be  q’o'minoqa  and  get  food  for  that  ha/mats’a.  Four 
days  later  NuLiloqoe  shall  disappear.  He  shall  be  no'nLtsistalaL,  and 
you,  Na/nwaqawe,  shall  be  the  ‘bear  of  the  door  of  your  house.7  You 
shall  have  two  whistles.  And  the  dancers  shall  wash  every  fourth  day, 
and  after  they  have  washed  four  times  every  fourth  day  they  shall  wash 
every  sixth  day.  After  they  have  washed  four  times  every  sixth  day 
they  shall  wash  every  eighth  day.  After  they  have  washed  four  times 
every  eighth  day  they  shall  wash  four  times  every  twelfth  day.  For 
four  years  the  Ha/mats’a  shall  do  no  work,  else  he  will  die  early.  Now 


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REPORT  OF  NATIONAL  MUSEUM,  1895. 


you  know  the  names  of  all  your  dancers.  Now  go  home  and  take  the 
name  of  the  house  of  BaxbakualanuXsI'wae.  This  is  its  name:  ‘Place 
of  red  cedar  hark’  (La/qakwatse).  That  shall  be  the  name  of  your 
house.”  Now  Na/nwaqawe  and  his  sons  went  home.  When  they 
arrived,  he  invited  his  tribe,  and  after  they  had  eaten  Ta'wix’amaye 
disappeared.  Then  Na/nwaqawe’s  tribe  tried  to  find  him  who  was  to 
be  a lia/mats’a.  Na'nwaqawe  did  all  the  woman  had  told  him.  He 
and  his  sons  were  the  first  to  celebrate  the  winter  ceremonial.  That 
is  how  we  know  about  the  dances  and  the  different  kinds  of  cedar  bark. 
That  is  the  end. 

There  exist  several  versions  of  this  important  legeud,  and  I will 
record  here  another  which  I obtained  from  the  Awl'k^’enox.  The 
beginning  is  the  same  as  that  of  the  preceding  version ; but  when  they 
reach  the  cannibal’s  house,  it  continues  as  follows : They  met  a woman 
who  was  rocking  her  baby.  Opposite  her  a boy  was  sitting  whose 
head  was  enormously  large.  The  four  brothers  went  near  the  fire  and 
sat  down  on  a box.  When  they  did  so,  the  eldest  one  hurt  his  leg  so 
that  the  blood  oozed  out  of  it.  Then  the  boy  nudged  his  mother  and 
said:  “Mother,  I want  to  lick  the  blood,”  but  his  mother  restrained 
him.  The  boy  began  to  scratch  his  head  and  finally  commenced  licking 
the  blood  notwithstanding  his  mother’s  order.  Then  the  eldest  of  the 
brothers  nudged  the  youngest  one  and  said : “Oh,  why  did  we  not  follow 
father’s  advice?”  The  boy  continued  to  lick  the  blood.  Then  the 
eldest  brother  took  his  bow  and  shot  an  arrow  out  of  the  house  through 
the  door.  He  asked  his  youngest  brother  to  go  and  bring  it  back.  As 
soon  as  he  had  left  the  house  he  ran  homeward  as  fast  as  he  could. 
Soon  the  eldest  brother  took  another  arrow  and  shot  it  through  the 
door.  He  asked  his  next  youngest  brother  to  fetch  it,  and  he  also  took 
the  opportunity  and  escaped.  Finally  he  shot  a third  arrow,  and  the 
next  brother  went  to  fetch  it.  He  also  ran  homeward  as  fast  as  he 
could.  Then  the  boy  began  to  cry.  The  woman  asked  the  only 
remaining  visitor:  “Are  not  your  brothers  coming  back?”  and  he 
replied:  “They  only  went  to  fetch  my  arrows.”  Then  he  shot  a fourth 
arrow  and  went  himself  to  fetch  it.  As  soon  as  he  had  left  the  house  he 
ran  homeward.  When  after  some  time  the  brothers  did  not  return,  the 
woman  knew  that  they  had  escaped.  She  stepped  out  of  the  house  and 
called  her  husband:  “ BaxbakualanuXsI'wae,  I have  allowed  our  good 
dinner  to  escape.”  BaxbakualanuXsI'wae  heard  her,  although  he  was  far 
away.  He  pursued  the  boys,  crying  “ham,  ham,  ham”  (eating,  eating, 
eating).  The  four  brothers  heard  him  crying,  and  ran  as  fast  as  they 
could.  The  eldest  brother  carried  a whetstone,  a comb,  and  a bottle  of 
hair  oil.  When  BaxbakualanuXsI'wae  had  come  near  them,  he  threw 
his  whetstone  over  his  shoulder,  and  behold!  it  was  transformed  into  a 
mountain  which  compelled  the  pursuer  to  go  round  about  it.  But  soon 
he  drew  nearer  again.  Then  the  young  man  poured  the  hair  oil  over 
his  shoulder.  It  was  transformed  into  a lake  and  the  pursuer  had  to 


THE  KWAKIUTL  INDIANS. 


401 


go  around  it.  But  again  he  came  near  the  flying  youths.  Then  the 
young  man  threw  his  comb  over  his  shoulder.  It  was  transformed  into 
an  impenetrable  thicket.  The  pursuer  had  to  go  all  around  it,  and  mean- 
while the  three  brothers  came  home.  Their  father  let  them  in  and 
bolted  the  door.  Soon  BaxbakualanuXsI'wae  arrived  and  demanded 
admittance.  Xo'aqaua  killed  a dog,  cut  it  to  pieces,  and  gathered  its 
blood  in  a dish.  Then  he  invited  BaxbakualanuXskwae  to  come  to  a 
knot  hole  in  the  wall  of  his  house  and  offered  him  the  full  dish,  saying, 
“This  is  the  blood  of  my  sons.  Take  it  and  carry  it  home  to  your  wife. 
Come  back  tomorrow  and  I will  feed  you.”  BaxbakualanuXsi'wae 
took  the  dish  and  went  home.  Then  Tso'ena,  Xb'aqaua’s  wife,  made  a 
deep  ditch  and  built  a huge  fire.  She  put  stones  into  it  which  when 
red-hot,  she  threw  into  the  ditch.  Then  a skin  was  stretched  near  the 
fire  so  as  to  conceal  the  ditch.  Soon  BaxbakualanuXskwae  and  his 
wife  arrived.  He  had  brought  his  four  children.  When  they  went 
into  the  house,  he  left  his  youngest  child  on  the  beach  to  watch  the 
canoe.  There  Tso'ena  made  them  sit  close  to  the  fire,  their  backs 
turned  to  the  skin  which  concealed  the  ditch. 

Then  BaxbakualanuXsI'wae  spoke  to  Xo'aqaua : “You  know  how 
everything  happened  in  the  beginning  of  the  world.  Tell  me!” 
Xo'aqaua  replied : “ I shall  tell  you.  What  shall  I tell  you  about  what 
happened  in  the  beginning  of  the  world,  grandchildren"?  A cloud  was 
on  the  mountain.  Soon  you  will  be  asleep.”  When  he  had  sung  so 
twice,  BaxbakualanuXsI'wae  and  his  whole  family  were  asleep.  Then 
Xo'aqaua  and  Tso'ena  drew  the  back  of  their  seat  and  they  fell  into 
the  ditch.  They  threw  the  red-hot  stones  on  top  of  them.  Twice 
BaxbakualanuXsflwae  cried  “ham,  ham!”  then  he  was  dead.  After 
some  time  they  pulled  out  the  bodies.  Xo'aqaua  cut  them  to  pieces  and 
scattered  them  in  all  directions,  singing:  “ BaxbakualanuXsi'wae,  you 
shall  pursue  man.”  They  were  transformed  into  mosquitoes. 

Here  is  another  legend  explaining  the  initiation  of  the  Oe'alitx,  a 
subdivision  of  the  Hefiltsuq. 

A woman  named  Ts’u/mkwalaqas  came  to  the  Stikine  River.  There 
she  gave  birth  to  a boy  who  was  at  once  transformed  into  a stone.  It  is 
now  a large  mountain  at  the  Stikine.  It  has  a name,  but  I do  not  know 
it.  She  had  two  brothers  whose  names  were  Wa/k-as  and  Do'kwa- 
lesala  living  in  a village  at  Goose  Island,  She  wanted  to  go  to  see  her 
brothers.  She  went  on  in  her  canoe  and  came  to  the  Skeen  a River. 
There  she  gave  birth  to  a boy.  He  was  also  transformed  into  stone.  It 
is  now  a large  mountain  at  Skeena  River  named  Kuga.  Again  she  was 
with  child.  She  came  to  Xa/exaes.  There  she  gave  birth  to  a boy, 
who  was  also  transformed  into  stone.  It  is  now  a large  mountain  at 
Xa'exaes  named  Gugasp’its’awe.  Again  she  was  with  child.  She 
started  in  her  canoe  and  came  to  Da/yasiowe.  There  she  built  a house 
of  cedar  bark.  After  four  days  she  gave  birth  to  dogs. 

Then  she  used  to  go  digging  clams  on  the  beach  in  front  of  her  house 
NAT  MUS  95 26 


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REPORT  OF  NATIONAL  MUSEUM,  1895. 


to  get  food  for  her  children.  Now  the  young  dogs  began  to  grow  up. 
At  night  when  it  was  low  water,  she  went  down  to  the  beach  carrying 
a torch,  and  dug  clams.  Then  she  heard  a sound  like  the  singing  of 
many  children.  Ts’u'mkwalaqas  wanted  to  know  who  the  children 
were.  She  put  her  digging  stick  into  the  ground,  took  off  her  cape,  and 
hung  it  over  the  stick.  Thus  she  made  it  look  like  a person.  Then  she 
went  to  see  who  was  singing.  She  looked  through  a hole  and  saw  now 
that  her  children  were  all  boys.  Then  she  was  watching  them  and 
learned  their  song,  and  the  song  is  sung  in  the  Hefiltsuq  language: 

1.  Spread  on  the  floor.  Aiha! 

2.  Down  the  stream  of  the  world.  Aiha! 

Now  she  jumped  into  the  house  and  said:  “ You  have  no  father  and 
you  are  men.  I must  always  work  hard  to  gather  food  for  you.”  Only 
the  youngest  one  put  on  his  dogskin  in  time  before  the  woman  had 
taken  the  skins  and  thrown  them  into  the  fire.  Then  the  eldest  spoke : 
“ Don’t  let  us  sit  like  fools ; let  us  begin  to  work  and  help  our  mother.” 
He  continued:  “What  work  shall  I do  for  my  mother?  I shall  be  a 
wood  carver.”  The  second  brother  said : “I  will  be  her  canoe  builder.” 
The  third  brother  said:  “What  work  shall  I do  for  my  mother?  I will 
be  the  killer  of  monsters.”  Then  the  dog  spoke:  “I  will  be  her  dog 
and  watch  that  no  sickness  comes  near  her.  I shall  bark  when  an 
invisible  spirit  approaches.”  Now  it  grew  dark.  On  the  following 
morning  the  wood  carver  carved  figures  of  men  and  he  carved  house 
posts  of  different  forms — in  the  shape  of  all  kinds  of  fish  and  land  ani- 
mals. It  is  said  the  posts  were  as  long  as  a forefinger.  He  made  eight 
houses,  and  then  he  made  one  more  house.  He  made  it  pretty;  it  had 
a front  carved  in  the  shape  of  a raven.  He  built  another  one  with  the 
front  carved  in  the  shape  of  Wiganx*tx,  and  he  made  still  another  one — 
eleven  houses  in  all.  And  the  canoe  builder  built  toy  canoes.  He 
made  many. 

At  night  the  wood  carver  took  the  houses  and  put  them  on  the  ground 
on  each  side  of  his  mother’s  house.  The  large  house  was  in  the  middle 
of  that  village.  Then  the  canoe  builder  put  his  toy  canoes  in  front  of 
the  houses.  In  the  morning  TsVmkwalaqas  went  out.  What  should 
she  see  but  many  people  and  large  canoes.  Now  she  was  rich.  The 
wood  carver  went  to  the  small  river  near  by  and  made  a salmon  trap. 
He  carved  salmon  of  alder  wood.  Therefore  the  flesh  of  the  salmon  is 
red.  On  the  following  day  he  went  to  look  after  his  salmon  trap.  He 
found  one  fish  in  it  and  gave  it  to  his  mother,  who  cut  it  open  and  dried 
it.  On  the  following  day  he  went  again  to  look  after  his  salmon  trap. 
He  found  eight  salmon.  He  went  home,  carrying  them  on  his  finger, 
and  gave  them  to  his  mother.  Then  he  told  his  mother  to  look  after 
the  trap  from  time  to  time.  The  killer  of  monsters  had  killed  by  this 
time  all  the  monsters  living  in  the  sea  near  the  coast. 

Then  the  brothers  said  they  would  go  into  the  woods.  In  the  morn- 
ing they  went,  and  the  wood  carver  was  the  leader.  At  night  they 


THE  KWAKIUTL  INDIANS. 


403 


rested  under  a cedar  tree.  It  had  not  been  dark  very  long  when  they 
heard  a sound  far  away,  “ Wamo-mo-mo-ino-wamo-mo-mo-mo.”  That 
means : River,  river,  run,  run,  run,  run.  The  three  brothers  were  fright- 
ened. Now  the  sound  came  closer,  closer,  and  closer.  They  heard  it 
four  times,  and  every  time  nearer.  They  did  not  know  what  made  the 
sound.  Then  they  heard  another  noise,  “hahi,  hi,  hi,  ahl,  hahi,  hi,  hi, 
ahl,  hi,  hi,  hi,  ahl,  hi,  hi,  hi.”  (This  is  the  cry  of  QWminoqa.) 

They  heard  the  cries  four  times,  and  they  came  nearer  every  time. 
Then  the  wood  carver  said : “ I wonder  what  produces  this  sound,”  and 
the  canoe  builder  said:  “Do  not  talk  too  much;  are  you  not  afraid?” 
Then  they  heard  a sound  again,  “hap,  hap,  hap,  hap,  hap,  hap,  hap.” 
(This  is  the  cry  of  BaxbakualanuXsffwae.)  They  heard  the  sound  four 
times,  and  it  came  nearer  every  time.  Now  the  sound  stopped  close  to 
the  place  where  they  were  sitting.  Then  the  killer  of  monsters  said: 
“Let  us  go  and  see  what  makes  the  noise.”  They  all  went,  and  after 
a short  time  they  saw  a large  house.  Sparks  were  coming  out  of  the 
roof.  They  entered,  and  a man  came  and  told  the  brothers  to  sit  down 
on  the  right-hand  side  of  the  house.  Then  the  speaker  of  the  winter 
ceremonial  said:  “Now  watch,  brothers;  now  you  will  get  a magic 
treasure.”  Then  the  NcVnLEingfila  came  in  and  danced.  It  was  he 
who  always  said  “ wamo-mo-mo-md.”  As  soon  as  he  had  finished,  the 
speaker  of  the  winter  ceremonial  said:  “Watch  his  dance.  We  call 
him  NdfiiLEmg-ila.  It  shall  be  your  dance.”  Next  QWminoqa  came 
and  sang  “ hahi,  hi,  hi,  hi,  ahl,  hahi,  hi,  hi,  ahl!” 

Then  she  danced.  When  she  had  finished,  the  speaker  of  the  winter 
ceremonial  said:  “It  shall  be  your  dance.  Her  name  will  be  GaLgi- 
yots’enox,  or  invisible  spirit.  Now  take  care  of  that  dance.”  Thus 
spoke  the  speaker  of  the  winter  ceremonial  to  the  brothers:  “White 
and  red  is  her  dancing  ornament.”  Then  the  brothers  heard  far  off 
the  haffnats’a’s  cry  “hap,  hap.”  Now  it  sounded  near  the  door  of  the 
dancing  house.  BaxbakualanuXsffwae  came, in  and  cried  “hap”  in  the 
doorway  of  the  house,  and  the  people  sang  for  him.  This  is  his  song: 

1.  The  whole  world  speaks  of  the  strength  of  the  mouth  of  BaxbakualanuXsfwae. 

Hamai,  hamamai,  hamai,  hamamai. 

2.  Frightened  is  the  whole  world  of  the  mouth  of  Ba.xbakualanuX8.fwae.  Hamai, 

hamamai,  hamai,  hamamai. 

3.  For  four  men  searched  the  strength  of  the  mouth  of  BaxbakualanuXsfwae. 

Hamai,  hamamai,  hamai,  hamamai. 

I do  not  know  the  song  of  No'nLEmgula  and  Q’o'minoqa.  Now  the 
brothers  came  home.  Then  the  wood  carver  disappeared.  He  was 
taken  away  by  BaxbakualanuXsI' wae.  After  four  days  the  canoe  builder 
disappeared.  He  was  taken  away  by  No'nLEmgdla.  That  is  how  the 
winter  dance  of  Qe'alitx  originated.  That  is  the  end. 

I will  give  still  another  legend  of  an  initiation  by  BaxbakualanuXsI'- 
wae.  It  belongs  to  the  clan  G'AxsEm  of  the  T’Ena'xtax. 

The  first  of  the  T’Ena'xtax  lived  at  Le'kwade.  Their  chief  was 


404 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


La/wag-is.  He  was  in  love  with  a girl.  Once  upon  a time  she  went  up 
the  river  to  pick  berries,  and  La/wag-is  followed  her.  He  walked  along 
the  bank  of  the  river,  while  she  had  gone  up  in  her  canoe.  When  it  grew 
dark,  he  heard  cries  in  the  woods.  Then  he  jumped  into  a pond  and 
rubbed  his  body  with  hemlock  branches.  He  went  on.  He  heard  the 
cries  all  the  time  and  bathed  in  another  pond.  He  walked  on.  How 
the  cries  were  close  to  him.  He  bathed  again.  How  the  cries  came 
quite  close  to  him.  He  bathed  the  fourth  time.  As  soon  as  he  had 
finished,  he  saw  a woman  with  a large  head  and  matted  hair  and  with 
a face  which  was  full  of  scratches.  La/wag-is  went  up  to  her  and  put 
his  arm  around  her  waist.  As  soon  as  he  had  done  so  they  both  fainted. 
He  recovered  first,  but  he  put  his  arms  around  her  waist  only  tighter. 
Then  the  woman  with  the  great  head  recovered  and  spoke:  “I  am  the 
crier  of  the  woods.  How  let  me  go  and  I will  help  you  to  obtain  every- 
thing easily.  I will  be  your  magical  helper.  You  shall  obtain  easily  all 
kinds  of  property.”  La/wag-is  only  held  her  more  tightly.  Then  she 
spoke  again:  “ I will  raise  property  for  you.”  But' he  held  her  still 
tighter.  Then  she  spoke  again : “ I will  give  you  the  water  of  life.  Let 
me  go.”  But  he  held  her  still  tighter.  She  spoke  again : “Let  me  go. 
Take  my  name,  it  shall  be  yours.  You  will  be  Qoa/dasgamals.  I will 
give  you  the  apron  that  burns  everything.”  Then  he  let  her  go.  She 
disappeared  at  once.  She  only  left  the  four  gifts,  which  she  had  given 
him,  on  the  ground.  Then  La/wag-is  took  his  magical  treasures.  He 
went  on  and  tried  his  apron  against  the  trees  of  a mountain.  Imme- 
diately they  were  burnt,  and  you  can  see  even  now  that  the  mountains 
of  Ts’a/wate  are  burnt.  How  he  was  glad.  He  hid  his  magical  treas- 
ures under  a cedar  tree  and  went  on.  He  arrived  at  the  village  where 
his  sweetheart  was  living.  She  asked  him:  “ Why  did  you  not  come 
sooner!”  He  replied:  “I  lost  my  way.”  That  night  they  went  to  bed 
and  played  together.  After  a short  time  he  was  poked  in  the  side 
through  a hole  which  was  in  the  boards  of  the  house.  He  arose  and 
went  to  look.  As  soon  as  he  went  out  his  face  was  covered-and  he  was 
led  away  by  a man.  He  did  not  dare  to  speak  and  to  ask,  but  he  knew 
that  he  was  led  three  times  up  a mountain  and  three  times  down.  Dur- 
ing all  this  time  his  face  was  not  uncovered.  Then  he  knew  they  were 
going  up  a mountain  again,  and  he  heard  a cry, “ hap,  hap,  hap  ; hao,  hao ; 
gab,  gab”  (the  cries  of  the  ha/mats’a,  the  hb'Xhok11,  and  of  the  raven.) 
Then  the  man  spoke:  “My  dear,  do  not  be  afraid.  I want  to  give  you 
magical  power.  This  is  my  house.  I am  BaxbakualanuXsUwae.  You 
shall  see  everything  in  my  house.”  They  entered,  and  he  uncovered  the 
faceof La/wag-is.  “Howlook,  friend !”  said  BaxbakualanuXsUwae.  You 
shall  have  my  name,  Wilgasa/lag-ilis,  and  your  name  shall  be  Ha/mats?a. 
How  watch  the  dance  of  the  ha/mats’a.”  Then  he  heard  the  cries,  “hap, 
hap,  hap;  hao,  had;  gab,  gab.”  Then  the  raven  that  was  painted  on  the 
front  of  the  ha/mats’a?s  secret  room  opened  its  mouth  and  the  ha/mats’a 
came  out,  vomited  by  the  raven.  Then  he  danced.  La/wag-is  did  not 


THE  KWAKIUTL  INDIANS. 


405 


see  the  singers.  After  the  first  song  the  ha/mats’a  went  hack  and  the 
ho'Xhok11  came  out  and  danced.  After  one  dance  he  went  back  and  the 
raven  came  out  and  danced.  With  the  next  song  the  ha/mats’a  came 
out  carrying  a corpse  in  his  arms,  which  he  ate.  When  he  had  eaten  it, 
he  danced  again  and  went  back.  He  had  four  songs.  BaxbakualanuX- 
si'wae  spoke:  “This  shall  be  your  ha/mats’a,  your  name  shall  be  Wil- 
gasa/lag-ilis,  and  Hamiga/lagalits’ak"  and  Xaxnawisa'lag-ilis.  Don’t 
forget  the  head  masks  of  the  ho'Xhok11  and  of  the  raven  and  the  paint- 
ing of  the  secret  room.  He  called  La/wag-is  to  see  a ditch  that  was  in 
the  rear  of  the  house.  Then  he  went  and  saw  it.  Something  like  a 
rainbow  was  standing  in  the  hole.  La'wag-is  looked  down  and  saw  all 
kinds  of  animals  and  fishes  in  the  hole.  BaxbakualanuXsI'wae  spoke: 
“This  is  the  cannibal  post  of  the  dancing  house.  This  shall  be  your 
magical  treasure.  Then  he  taught  him  his  song: 

1.  You  are  the  great  BaxbakualanuXsI'wae,  to  whom  every  one  looks  up,  aho,  o,  o,  o, 

hem,  aem. 

2.  This  is  the  way  of  the  true  BaxbakualanuXsI'wae,  aho,  o,  o,  6,  hem,  aem. 

3.  0,  nobody  can  live  before  the  great  BaxbakualanuXsI’wae,  aho,  o,  o.  o,  hem,  aem. 

4.  Who  came  out  of  the  woods  to  me,  aho,  o,  o,  o,  hem,  aem. 

Xow  he  had  learned  the  one  song  and  BaxbakualanuXsi'wae  taught 
him  the  second  song: 

1.  You  are  looking  for  food,  you  great  magician,  mahamai,  hama,  hamamai;  yi 

hama  ma  mai  hama. 

2.  You  are  looking  for  men  whom  yon  want  to  eat,  great  magician;  mahamai, 

hama,  hamamai ; yi  hama  ma  mai  hama. 

3.  You  tear  men’s  skins,  great  magician,  mahamai.  You  try  to  eat  many  men,  great 

magician,  mahamai,  hama,  hamamai;  yi  hama  ma  mai  hama. 

4.  Everybody  trembles  before  you,  you  great  magician.  You  who  have  been  to  the 

end  of  the  world,  mahamai,  hama  hama  mai;  yi  hama  ma  mai  hama. 

After  the  song  BaxbakualanuXsi'wae  called  La'wag-is  and  asked 
him:  “Don’t  you  want  this  harpoon  shaft?  It  kills  everything.  Xow 
it  is  yours,  and  also  this  red  cedar  bark  and  the  fire  with  which  you  may 
burn  everything,  the  water  of  life,  and  the  quartz  for  killing  your  ene- 
mies.” Then  La/wag-is  went  home.  That  is  the  end. 

The  following  legend  belongs  to  the  Ximkish: 

There  were  two  friends.  One  of  them  had  gone  into  the  woods  to  be 
initiated  by  the  spirits  of  his  clan,  while  the  other  one  was  not  yet  pre- 
pared to  meet  these  spirits.  Xevertheless  he  went  to  search  for  his 
friend  and  after  four  days  he  found  him.  When  he  returned,  his  father 
asked  him  where  he  had  been,  and  he  told  him  that  he  had  found  his 
friend  who  was  being  instructed  by  the  spirits.  Then  his  father  struck 
him,  saying:  “Do  you  not  know  that  it  is  forbidden?  I shall  be  killed 
on  account  of  you.”  Then  the  youth  became  sad.  At  night  he  put  on 
his  ornaments,  which  were  made  of  abalone  shells,  and  went  into  the 
woods.  He  went  up  the  river  and  washed  with  hemlock  branches. 
The  following  morning  he  went  on,  and  the  next  day  he  washed  again. 
Then  he  heard  the  voice  of  BaxbakualanuXsi'wae.  At  the  end  of  the 


406 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


fourth  day  he  came  to  a precipice  and  lay  down  at  its  base  to  rest. 
Early  in  the  morning  he  saw  the  rock  open  and  out  came  Baxba- 
kualanuXsI'wae.  He  hid,  and  the  spirit  flew  away  over  his  head.  His 
body  was  all  covered  with  red  cedar  bark.  Four  days  the  boy  stayed 
there.  On  the  fifth  morning  when  BaxbakualanuXsI'wae  came  out 
again,  he  followed  him,  and  saw  how  he  took  off  his  cedar  bark  orna- 
ments on  the  bank  of  a pond  and  went  to  swim  in  it.  When  he  dived, 
the  youth  jumped  forward  and  put  on  the  cedar  bark  ornaments.  Now 
the  spirit  emerged.  When  he  saw  the  boy  decked  with  his  cedar  bark 
ornaments,  he  said : “ You  have  done  well  to  take  my  ornaments.  Now 
I can  do  you  no  harm.”  He  took  him  along  to  his  home  inside  the 
rock.  There  he  asked  him:  “What  do  you  want  to  have?  Do  you 
want  this  harpoon?  Do  you  want  the  water  of  life?  Do  you  want  the 
deatli-bringer?  Do  you  want  my  ha/matsa?”  He  gave  him  all  of 
these.  The  youth  stayed  with  him  for  four  days.  Then  he  was  able 
to  fly.  Then  BaxbakualanuXsFwae  instructed  him  to  fly  to  a place 
where  his  father  was  accustomed  to  fetch  water  for  cooking.  Soon  his 
younger  brother  came,  and  when  he  saw  him,  he  discovered  that  he 
had  been  away  a long  time.  What  had  seemed  to  him  four  days  were 
actually  four  years.  He  asked  the  young  boy:  “How  is  father?  I am 
your  elder  brother.  Go  and  ask  father  to  clean  his  house.”  The  boy 
went  back  and  told  his  father,  who  beat  him  for  speaking  of  his  dead 
son.  Then  the  boy  ran  back  and  complained  to  his  brother  that  his 
father  had  beaten  him  for  carrying  the  message.  The  elder  brother 
sent  him  back  to  the  house,  asking  him  to  repeat  his  request.  The  boy 
obeyed  and  when  his  father  had  heard  the  message  again,  he  went  out 
to  see  by  himself.  As  soon  as  his  eldest  son  saw  him  he  grew  excited. 
He  flew  across  the  river  to  the  graveyard,  tore  corpses  out  of  their 
coffins  and  devoured  them.  Then  he  flew  into  his  father’s  house  and 
bit  everyone  whom  he  saw. 

There  are  a number  of  tales  referring  to  the  acquisition  of  the 
ho'Xhok11.  The  Naqo'mg-ilisala  have  the  following  legend  on  this 
subject:1 

A number  of  women  went  to  the  island  Yu/Le  to  dig  fern  roots.  They 
put  some  dried  whale  meat  over  the  fire  and  a red-breasted  owl  came 
and  picked  up  some  of  it.  It  is  said  that  there  are  many  red-breasted 
owls  there.  Then  all  of  a sudden  came  the  ho'Xhok11  and  alighted  on 
top  of  a tree.  He  came  downward,  pecking  the  tree.  He  came  down 
to  the  bottom  of  the  tree,  but  it  was  hard  on  his  beak.  Now  he  walked 
up  to  the  women.  He  covered  his  nose  and  was  transformed  into  a 
man.  He  reached  a woman  who  put  some  dry  whale  on  the  fire.  She 
laid  a mat  before  him  and  put  the  whale  meat  on  it.  The  h<yXhoku 
said : “I  do  not  eat  whale  meat,  I eat  only  man’s  brain.”  So  saying,  he 
pecked  the  woman’s  head,  broke  her  skull,  and  ate  the  brain.  One  of 
the  women  had  hidden  when  he  came  down.  She  went  home  and  told 
the  tale.  Then  the  Naqo'mg-ilisala  resolved  to  make  war  upon  the 
ho'Xhok11.  Qo'mg-ustals  and  Waxalalaa  took  the  blood  of  a woman 


Appendix  page  680. 


THE  KWAKIUTL  INDIANS. 


407 


and  washed  themselves.  Then  they  made  war  on  the  lio'Xhok11.  Now 
they  went  to  where  the  women  had  been.  They  pat  whale  meat  on  the 
fire.  At  once  many  owls  came  there  and  the  ho'Xhok11  alighted  on 
the  tree.  Now  he  came  downward,  pecking  the  tree.  When  he  came 
to  the  foot  of  the  tree,  he  jumped.  His  beak  stuck  in  a crack  of  the 
tree.  Then  Qo'mg-ustals  and  Waxalalaa  ran  up  to  him  and  broke  off 
his  nose  and  pushed  him  into  the  fire.  He  was  dead.  That  is  the  end. 

The  following  tradition  of  the  Awflk-’enox  referring  to  the  ho7Xhoku 
is  of  interest  because  it  indicates  the  ceremonial  or  dance  performed 
by  every  novice  initiated  by  this  being: 

A young  man  named  Q-’oTnkilig-a  went  into  the  woods  to  fetch  cedar 
bark.  There  the  lio'Xhok11  scented  him.  He  found  that  the  youth  was 
clean,  and  therefore  rushed  down  upon  him  in  order  to  abduct  him. 
When  Q’*b/mkilig*a  heard  the  spirit  coming,  he  trembled  with  fear.  He 
hoped  to  master  his  fears  by  smoking,  but  he  failed.  He  fainted  and 
lay  like  one  dead.  The  ho'Xhok"  came  down  to  him  and  imbued  him 
with  his  powers. 

When  the  youth  did  not  return,  his  friends  went  into  the  woods  to 
search  for  him.  They  found  him  lying  in  a deep  swoon.  They  sprin- 
kled him  with  cold  water,  but  he  did  not  awake.  They  carried  him 
back  to  the  village.  When  his  father  saw  him,  his  heart  was  sad.  But 
soon  he  noticed  that  he  was  still  alive.  He  called  a shaman  and  bade 
him  heal  his  son.  The  shaman  ordered  the  house  to  be  swept  and  the 
floor  to  be  strewn  with  sand.  He  took  the  youth  into  the  woods  and 
stayed  there  for  four  days.  Then  he  returned.  After  four  days  more 
QWmkilig-a  also  returned.  He  had  received  the  name  QoaLqoa/oe. 

He  sang  of  the  h<yXhoku,  and  suddenly  he  jumped  up  in  order  to 
devour  his  father,  who  was  sitting  on  the  opposite  side  of  the  fire.  He 
had  the  cedar-bark  ornaments  of  the  ha/mats’a  around  his  neck  and  head. 
His  head  ring  slid  down  and  fell  right  over  his  mouth,  so  that  instead 
of  biting  his  father  he  bit  a piece  out  of  his  ring.  His  grandfather  took 
a large  black  blanket  which  he  wound  around  the  youth’s  head.  He 
tore  it  with  his  teeth.  Then  the  people  wound  a rope  over  his  mouth ; he 
tore  it.  Nobody  was  able  to  subdue  him.  All  the  people  fled  out  of 
the  door  for  fear.  They  heard  him  singing  in  the  house  and  looked 
through  the  chinks  and  through  the  knot  holes  to  see  what  he  was 
doing.  They  saw  him  climbing  the  posts  and  pushing  the  roof  boards 
aside.  He  wanted  to  pursue  the  people.  Then  they  stationed  two 
men  at  the  doors,  and  others  held  the  roof  down  so  that  ho  should  not 
escape.  Others  entered  and  threw  a bearskin  over  him.  But  he  crept 
about  in  the  house  and  his  skin  was  so  slippery  that  nobody  could 
hold  him.  In  the  evening  he  quieted  down  and  lay  so  still  that  the 
people  thought  he  might  be  asleep.  They  made  a jacket  of  cedar  bark 
in  which  they  tried  to  catch  him.  But  as  soon  as  they  approached  he 
jumped  up  and  ran  out  of  the  house.  On  the  island  Nalkuitxokas  there 
were  a number  of  women  engaged  splitting  salmon.  He  scented  them 
and  jumped  into  the  water  to  devour  them.  They  escaped  in  their 
canoe  when  they  saw  him  coming. 


408 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


At  last  QoaLqoa/oe  recovered  his  senses.  He  spoke  to  his  father: 
“When  I grow  excited  again,  do  not  try  to  defend  yourself,  I shall  do 
you  no  harm.”  After  a short  time  he  fell  again  into  a state  of  ecstasy. 
He  lay  flat  on  the  floor,  his  face  downward.  The  people  threw  a net 
made  of  cedar  bark  over  him,  in  order  to  catch  him.  Sometimes  they 
succeeded  in  placing  a foot  on  his  neck,  but  they  were  unable  to  hold 
him,  not  even  by  winding  his  long  hair  around  their  hands.  He 
escaped,  and  nobody  knew  what  had  become  of  him.  He  ran  about  in 
the  woods  and  when  he  came  back  to  the  village  he  bit  whomsoever  he 
met.  When  he  recovered  his  senses,  he  asked  his  father  to  boil  oulachon 
oil  and  to  give  it  to  him  as  soon  as  he  fell  into  a renewed  ecstasy,  as 
this  would  restore  his  senses.  Once  when  he  was  excited,  he  scented 
the  mussels  in  a canoe  which  was  approaching  the  village,  but  which 
was  still  far  away.  He  ran  down  to  the  beach  and  as  soon  as  the  canoe 
landed  he  ate  all  the  mussels  that  were  in  it.  Then  he  became  quiet. 

Another  group  of  initiating  spirits  are  the  ghosts ; their  proteges 
are  the  ghost  dancers.  Following  is  a legend  of  the  L?a/sq?enox  regard- 
ing the  origin  of  the  ghost  dance:1 

Ooa/xLa  and  his  children  lived  in  a village  in  heaven.  His  sons 
were  Qo'masddx,  the  eldest  one,  Hai'aqoalaL,  the  next,  Noflak’as  the 
following,  and  A'nqolak-as.  His  rival  was  TsilqoaloLEla.  He  had 
three  sons,  Sepa/xis  and  YaqanLamaye  and  G-e'xdEn.  Then  TsUlqoalo- 
LEla  wanted  to  come  down  to  our  world.  He  made  a copper  ladder 
on  which  he  was  going  to  climb  down  with  his  children.  His  rival 
wanted  him  to  pay  for  it,(?)  Now  Goa/xLa  heard  what  TsiTqoaloLEla 
had  said.  Then  he  walked  and  walked  for  four  days.  A 11  of  a sudden, 
he  saw  a mountain  growing  up  from  this  our  world  reaching  up  to  the 
sky.  Then  he  went  home  and  told  his  sons.  They  got  ready  and  came 
to  the  place  where  he  had  been  before.  After  a little  while  they  saw 
the  mountain  rising  up  again.  As  soon  as  it  reached  heaven  Goa/xLa 
said  to  his  sons:  “I  shall  not  follow  you.  Go  now  and  call  your  tribe 
the  Pe'pawiLenox.  You  shall  take  my  dancing  implements.”  Thus 
he  spoke  to  his  sons.  Then  Qo'masdox  and  Hai'aqoalaL  and  NoTak-as 
and  also  A'nqolak-as  came  down  to  Kaspberry  Beach.  Then  they  went 
on  looking  for  a river.  They  were  walking  in  the  woods  and  came  to 
Cape  Cook.  There  they  found  a pole  at  the  point  of  Cape  Cook.  Then 
Qo'masddx  and  Hai'aqoalaL  went  back,  keeping  close  to  the  beach. 
They  came  to  Ots’oTis  and  went  to  the  head  of  the  bay.  There  they 
saw  smoke.  They  came  up  to  it  and  saw  a house,  which  they  entered. 
There  were  two  women  who  were  roasting  clams.  Then  Qo'masdox 
and  HabaqofilaL  asked  the  women:  “Where  do  you  come  from?”  The 
women  replied : “We  came  from  the  upper  world  and  we  have  no  hus- 
bands.” Then  Qo'masdox  said,  “We  have  no  wives.  How  did  you 
come  down?”  Then  WUyoleneqa,  one  of  the  women,  spoke:  “These 
geese  brought  us  down  here  and  we  came  to  be  your  wives.”  The 
brothers  were  glad  on  hearing  this  and  they  went  home  with  their 


Appendix  page  681.  See  also  page  335. 


THE  KWAKIUTL  INDIANS. 


409 


wives,  Wi'yoleneqa  and  WlyoLasoguilak".  When  they  came  to  Rasp- 
berry Beach,  the  women  were  with  child.  They  gave  birth  to  boys, 
and  Qo'masdox  gave  his  son  the  name  La'qoasqEm.  The  boys  grew 
up  quickly.  One  day  the  children  were  playing  at  the  river  at  one 
end  of  Raspberry  Beach.  Then  La/qoasqEm  fainted  on  that  side  of 
the  river.  The  other  boy  went  back  to  tell  Qo'masdox.  He  came  at 
once  to  look  after  his  son,  and  really,  he  was  dead.  He  buried  him 
immediately.  In  the  evening  the  boy  returned  to  life,  but  what  could 
he  do?  He  was  inside  the  coffin  box.  At  night  he  heard  people  talk- 
ing to  each  other.  Then  he  was  able  to  open  the  cover  of  the  box. 
Right  away  he  was  called  and  they  went  to  a house  in  which  beating 
of  boards  was  heard.  Three  ghosts  were  asked  to  take  care  of  the 
boy.  Then  they  led  him  into  the  dancing  house,  but  they  did  not  go 
to  the  rear  of  the  house.  They  sat  in  the  middle  of  the  right  hand 
side.  Now  they  spoke  to  La/qoasqEin:  “Now  take  care,  remember 
what  you  see  and  the  songs  which  you  will  hear.  Don’t  eat  of  the 
food  they  offer  you.”  There  was  a chief  standing  in  the  house  holding 
a rattle.  His  name  was  Ha'mamaxayals.  He  was  chief  of  all  the 
ghosts.  He  said,  “ Come,  let  my  boy  go  to  the  rear  of  the  house.” 
But  the  three  ghosts  replied,  “He  is  alive.”  They  finished  their  dance. 
The  boy  felt  uneasy.  Then  Ha/mamaxayals  said:  “Take  care,  my 
tribe.  We  will  take  that  little  boy  to  his  house.”  Then  all  the  ghosts 
took  some  moss  and  put  it  on  their  heads.  Then  the  little  boy  also 
put  some  moss  on  his  head.  At  once  he  sat  on  the  ground  of  our  own 
world.  A shaman  named  He'Lilalag-ilis  was  told  to  take  some  urine  to 
wash  the  people.  Then  all  the  ghosts  cried  “hamama'”  where  he  was 
sitting.  Qo'masdox  and  his  wife  were  eating  when  they  heard  the 
sound,  “liamama',  hamama'.”  He  ran  out  of  his  house  to  look,  and 
there  he  saw  his  son  sitting  on  the  ground.  He  called  his  wife, 
“Come.”  His  wife  came  to  see  and  recognized  her  own  son.  Then 
La/qoasqEm  called  his  father,  “Gfo  and  take  some  urine  to  sprinkle 
your  people  with.”  Qo'masdox  brought  his  chamber.  Then  the 
whole  tribe  came.  But  the  ghosts  opened  their  mouths.  As  soon 
as  a person  passed  their  mouths  while  they  were  saying  “hamama'” 
he  died.  Then  La/qoasqEm  shouted,  “Sprinkle  some  urine  on  the 
people.”  As  soon  as  it  was  done  all  those  who  had  been  dead  resur- 
rected. Then  he  entered  his  father’s  house  and  with  him  came  the 
noise  of  the  ghosts.  The  boy  was  singing  their  song  and  the  tribe 
learned  it  from  him.  Thus  they  learned  the  song  of  the  ghosts.  Now 
listen  to  the  song  of  the  boy!  His  name  was  NenLaxstals,  now  that 
he  was  ghost  dancer.  No  other  kind  of  dance  and  carving  came  to 
him.  This  is  his  song: 

1.  Ya  xamame,  ya  xamame,  ya  xamarae  ya. 

Now  ghosts,  go  all  to  that  upper  world! 

2.  Ya  xamame,  ya  xamame,  ya  xamame  ya. 

For  great  is  your  wealth  in  the  ground,  ghosts ! 

3.  Ya  xamame,  ya  xamame,  ya  xamame  ya. 

For  great  is  your  hre  and  many  your  hot  stones,  ghosts ! 


410 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


The  origin  of  the  sunrise  dance  is  given  as  follows : 

KuexalaTag-ilis  and  his  tribe,  the  first  of  the  G-o'p’endx,  were  living 
at  G-e'damis.  At  that  time  it  was  always  dark  and  it  never  grew  day- 
light. The  first  G-o'p’enox  were  sad.  Then  Nag-eisilakua  invited  his 
tribe.  As  soon  as  they  had  all  assembled  in  the  chief’s  house  he  spoke  : 
“G-o'p’enox!  I did  not  invite  you  to  eat.  I will  talk  about  our  world. 
It  is  not  good  that  it  never  gets  daylight.  Now  deliberate,  councilors 
of  the  G-o'p’enox,  how  we  can  obtain  the  daylight  for  our  world.  That 
is  what  I wanted  to  say.”  He  stopped  speaking  and  an  old  man  named 
Yaqantayig-ilak",  the  father  of  KuexalaTag-ilis,  said : “ Ya,  G-o'p’enox, 
let  us  try  to  find  where  Nenalaats’eqa  is  living  and  let  us  go  to  her. 
Then  another  old  man  said:  “My  tribe,  she  is  living  at  Xua/tis;  and  it 
is  said  that  she  keeps  the  sun  in  her  box.  Let  us  go  and  make  war 
upon  the  Koskimo,  for  Nenalaats’eqa  is  of  their  tribe.  Let  us  take 
away  the  daylight  that  she  is  keeping  in  her  box.”  With  this  the  old 
man  stopped  speaking.  Then  KuexalaTag-ilis,  who  had  magical  powers, 
said:  “'My  tribe,  you  all  know  I am  KuexalaTag-ilis ; I have  magical 
powers.  Do  not  make  war  upon  the  Koskimo,  for  I will  go  to  Nena- 
laats’eqa with  my  friend  Ts’eqaxsdo'kuilak".  Now,  make  yourself 
ready,  my  friend!  Let  us  go  to  Xua/tis.  But  you,  my  tribe,  take  care 
lest  misfortune  should  befall  me.”  Then  all  the  people  said:  “.We 
are  gladdened  after  having  been  downcast,  because  you  have  magical 
powers  and  therefore  you  always  succeed  in  your  undertakings.”  Now 
KuexalaTag-ilis  and  Ts’eqaxsdo'kuilak"  started.  The  former  said  to 
his  friend : “We  will  not  go  right  to  Xua/tis.  I will  go  to  the  woods  and 
try  to  find  a really  supernatural  power.  Do  not  get  out  of  patience 
if  you  have  to  wait  for  me  for  a long  time,  else  we  shall  not  con- 
quer Nenalaats’eqa.  Hide  here  and  do  not  let  anyone  see  you.”  Then 
he  left  the  canoe  and  went  into  the  woods  at  night.  After  a short  time 
he  discovered  the  squirrel.  KuexalaTag-ilis.  spoke  to  him  and  asked: 
“What  are  you  doing  here,  friend?”  The  squirrel  replied:  “lam  pick- 
ing crab  apples.”  He  asked  in  his  turn:  “What  are  you  doing  here?’* 
KuexalaTag-ilis  replied : “ I am  trying  to  bathe  in  that  lake,  that  I may 
obtain  possession  of  the  box  in  which  is  our  suu,  and  which  Nena- 
laats’eqa is  keeping.”  The  squirrel  said : “ Do  you  not  know  how  to 
transform  yourself  into  a baby  and  enter  Nenalaats’eqa’s  womb? 
Then,  when  you  are  born,  you  must  cry  for  the  box.”  Then  Kuexa- 
laTag-ilis was  glad  to  have  the  advice  of  his  friend  the  squirrel.  He 
went  to  his  canoe  and  told  his  friend:  “You  may  go  home.  I am  not 
going  with  you,  and  do  not  worry  if  I stay  away  long.”  He  pushed 
the  canoe  into  the  water  and  Ts’eqaxsdo'kuilak11  paddled  home  to 
G-e'damis.  He  told  the  G-o'p’enox  what  had  happened. 

Then  KuexalaTag-ilis  walked  until  he  saw  the  village  at  Xua/tis. 
There  he  saw  Nenalaats’eqa  sitting  in  her  house,  eating  salmon. 
Then  he  transformed  himself  into  a baby  and  entered  her  womb.  She 
vomited  at  once.  Her  belly  swelled  rapidly  and  after  four  days  she 


THE  KWAKIUTL  INDIANS. 


411 


gave  birth  to  a boy.  When  he  was  one  day  old,  he  was  able  to  walk, 
and  the  following  day  he  began  to  talk.  When  the  child  was  four  days 
old,  it  began  to  cry  for  the  box.  Then  Xenalaats’eqa  gave  it  to  the 
boy.  He  stopped  crying  at  once.  On  the  following  day  the  child  went 
playing  in  the  canoe.  Then  Nenalaats’eqa  told  her  speaker  to  push 
the  hunting  canoe  into  the  water.  The  boy  went  aboard  the  canoe  and 
then  he  began  again  to  cry  for  the  box.  His  mother  told  her  speakers 
to  put  the  box  into  the  canoe.  Then  the  boy  stopped  crying.  He 
pushed  oh*  the  canoe  and  went  far  away  from  the  shore  with  the  tide. 
Then  an  old  man  said  to  Nenalaats’eqa : “What  have  you  been  doing? 
Is  that  the  box  in  which  the  day  is  that  is  now  in  the  bow  of  the  canoe 
of  that  child?  Do  you  not  know  him?  That  is  Kuexala'lag-ilis.” 
Thus  spoke  the  old  man.  As  soon  as  KuexalaTag-ilis  had  rounded 
the  point,  he  opened  the  box.  Then  he  took  out  the  sun  and  removed 
his  si'siuL  mask.  It  grew  light  at  ouce.  The  sun  spoke:  “O,  friend! 
do  not  keep  me!  Let  me  go  to  the  upper  world,  for  now  I will  try 
to  benefit  our  world.  It  will  be  day  now.  You  have  my  sI'siuL 
mask.”  Thus  spoke  the  sun.  Then  KuexalaTagdlis  replied:  “Do  not 
go  just  yet,  friend!  You  may  go  to  the  upper  world  when  we  arrive 
among  my  own  tribe  at  G*e'damis.  They  all  will  praise  you.”  Then 
he  paddled  home.  The  sun  said:  “My  friend!  treat  my  sI'siuL  mask 
well.  You  may  show  it  during  the  winter  dance,  and  also  the  sunrise 
mask.  Its  name  shall  be  EXts’umatusElag-ilis  (abalone  shell  from 
one  end  of  the  world  to  the  other).  That  is  all.”  Thus  spoke  the  sun 
and  bid  farewell  to  Kuexala'lagdlis.  Then  he  went  to  the  upper  world. 

In  this  manner  the  G-o'p’enox  obtained  the  sunrise  mask  (na'xnak-a- 
qEinL)  and  its  red  cedar  bark.  It  was  inside  the  box.  That  is  the  end. 
(See  figs.  129-133,  p.  484.) 

The  Ma/tEm  ceremonial  derives  its  origin  from  the  following  legends 
of  the  Nimkish: 

At  Papekun,  above  Nimkish  Lake,  lived  a young  man  named  O'mea- 
LEmae.  He  was  always  playing  with  other  children.  One  night  he  was 
very  hungry.  He  took  salmon  roe  out  of  a box  and  roasted  it.  When 
the  roe  burst,  some  of  it  jumped  against  the  neck  of  the  boy’s  father, 
who  was  sitting  near  the  fire  warming  his  back.  He  grew  angry  and 
struck  Ma/tEm  with  a stick.  The  boy  became  sad  and  went  into  the 
woods.  After  walking  a long  time  he  came  to  a place  where  there  was 
a jam  of  driftwood  in  the  river.  He  wanted  to  die,  and  he  jumped  into 
the  water  above  the  jam,  but  he  came  up  again  below,  none  the  worse 
for  his  long  dive.  He  came  to  a second  jam  and  jumped  into  the  river 
above  it,  but  he  came  up  below  hale  and  well.  Then  he  arrived  at  a 
steep  cliff.  He  climbed  up  and  flung  himself  down  the  precipice,  but 
he  did  not  hurt  himself.  He  went  on  and  soon  he  arrived  at  a mountain 
which  was  resplendent  with  light.  It  was  the  cliff  Na/oalakoa.  There 
it  was  raining  quartz  all  the  time.  He  took  up  four  crystals  and  placed 
them  in  a row  on  the  medial  line  of  his  head.  He  climbed  the  rnoun- 


412 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


tain  and  liis  whole  body  was  covered  with  crystal.  Soon  he  became 
aware  that  with  the  crystal  he  had  attained  the  power  of  flying.  Then 
he  flew  all  through  the  world.  He  believed  that  he  had  been  absent 
for  four  days,  but  in  reality  there  had  been  as  many  years.  Finally  he 
returned  to  his  village.  His  clan  happened  to  be  at  ISTe'nelk-as  fishing 
on  the  lake  by  the  light  of  torches. 

Then  he  appeared  in  the  shape  of  a white  eagle  and  quartz  was  rain- 
ing down  where  he  was  seen.  He  alighted  on  a tree  and  sang — 


pot  I 

• e 

^ 1 

L 

G “I  * 

H — ^ 

LJu 

Ha -a  ha  a ha  a ha  ha -a  na  ha  a a ne. 


Then  the  people  knew  that  he  had  returned  and  that  he  had  obtained 
magical  power  from  Ma/tEm.  They  bathed  and  went  down  to  the  shore, 
each  carrying  a staff  to  which  a crystal  had  been  fastened.  But 
OhneaLEmae,  whose  name  was  now  Ma/tEm,  smelled  them  and  did  not 
allow  himself  to  be  caught.  When  it  grew  dark,  he  was  soaring  over 
the  houses.  In  vain  the  people  tried  to  catch  him.  One  of  his  old  play- 
mates was  very  anxious  to  catch  him.  He  made  a loop  of  cedar  bark 
rope  and  succeeded  in  throwing  it  over  the  bird’s  head.  The  latter 
continued  soaring  about.  The  youth,  who  now  received  the  name 
Ma/taanoe,  followed  him.  He  asked  the  people  to  sweep  the  house 
and  to  place  a plank  on  the  roof.  When  they  had  done  so,  Ma/tEm 
alighted  on  the  plank.  Three  times  he  flew  up  again,  but  the  fourth 
time  he  came  down  into  the  house,  accompanied  by  Ma/taanoe. 

Later  on  Ma'tEm  went  out  with  his  slaves  to  cut  wood.  His  canoe 
capsized  and  he  descended  to  Be'benaqaua.  There  he  saw  many 
dances  and  he  received  the  lolo'LalaL,  the  ghost  dance,  and  the  name 
Lo'LEmae. 

I obtained  another  version  of  this  tale  from  a Kwakiutl,  although 
the  tale  belongs  also  to  the  Nimkish: 

A youth  was  in  the  habit  of  spending  his  time  with  his  sweetheart 
and  notwithstanding  the  urgent  appeals  of  his  mother  he  refused  to 
marry.  Late  one  night  he  came  home  and  asked  his  mother  to  prepare 
food  for  him.  She  was  angry  and  said:  “Go  back  to  the  place  where 
you  came  from  and  get  your  feed  there.  I shall  not  give  you  any- 
thing.” Then  the  youth  was  sad.  He  lay  down  and  remained  in  bed 
four  days  without  partaking  of  any  food.  His  mother  began  to  worry 
and  asked  him  to  rise,  but  he  did  not  listen.  Then  she  called  the 
youth’s  sweetheart  to  call  him,  but  he  did  not  listen  to  her  either.  At 
last,  after  four  days,  he  arose  and  went  into  the  woods  without  knowing 
where  he  went.  He  had  lost  his  senses.  He  came  to  a lake.  There  he 
threw  off  his  clothing  and  swam  and  dived  in  the  lake.  He  remained 
underwater  for  a long  time.  When  he  came  up  again,  a totem  pole 
rose  with  him.  He  saidj.  “I  do  not  want  you,”  and  thought,  “I  will  go 


THE  KWAKIUTL  INDIANS. 


413 


on.”  After  some  time  lie  came  to  another  lake.  Again  he  swam  and 
dived.  When  he  came  up,  a seal  harpoon  came  up  with  him,  but  he 
did  not  want  to  have  it.  He  was  trying  to  find  the  bird  Ma/tEm.  He 
came  to  a third  and  to  a fourth  pond,  and  after  having  bathed  he  knew 
that  he  would  find  the  bird.  He  put  on  his  blanket  and  went  on. 
Soon  he  saw  the  bird,  which  was  flying  ahead  of  him.  He  threw  off 
his  blanket  in  order  to  be  able  to  follow  him  more  rapidly.  Suddenly 
the  bird  turned  and  called,  “What  do  you  want  of*  me?”  The  youth 
replied,  “My  mother  maltreated  me.  Now  I came  to  find  a magical 
treasure.”  The  bird  retorted : “ Do  you  see  yon  mountain  ? That  is  my 
abode.  Let  us  climb  it!”  He  flew  ahead  and  the  youth  followed  him. 
When  they  had  arrived  at  Ma/tEm’s  house,  the  bird  gave  him  quartz 
and  other  things,  the  water  of  life,  the  fire  of  death,  and  the  seal  har- 
poon. He  put  the  quartz  crystals  into  the  youth’s  joints  and  thus  he 
obtained  the  power  of  flying.  He  sent  him  to  the  mountain  Ts’iflk-impae 
(feathers  on  top)  in  the  far  north,  in  order  to  get  eagle  down  for  his 
dances.  The  youth  started  on  his  journey.  When  he  approached  the 
mountain,  it  was  snowing,  hailing,  and  raining.  The  people  who  lived 
near  the  mountain  keep  great  fires  burning  in  order  to  see  and  to  catch 
everyone  who  comes  to  the  mountain  wanting  to  get  eagle  down.  But 
by  the  help  of  the  quartz  the  youth  passed  them  without  being  seen. 
He  gathered  the  eagle  down,  and  thus  obtained  the  power  of  assuming 
the  shape  of  a bird.  Then  he  returned  to  his  own  village  in  the  shape 
of  a bird.  When  his  younger  brother  saw  the  bird  approaching,  he 
laid  a snare  to  catch  it.  The  bird  put  the  snare  over  its  own  neck  and 
resumed  his  human  shape.  He  sent  word  to  his  father,  asking  him  to 
clean  his  house.  When  this  was  done,  he  came  home  in  the  evening 
and  danced  as  Ma/tEm.  On  the  following  morning  the  bird  Ma/tEm 
brought  a totem  pole  and  threw  it  down  in  front  of  the  youth’s  house. 

The  MefiLa  is  a legend  which  belonged  originally  to  the  He'iltsuq 
and  Awl'k-’enox.  I obtained  the  following  tale  from  the  Awifl^’enox 
regarding  its  origin: 

A young  man  named  MefiLa  went  ten  times  inside  of  one  year  up  to  the 
sky.  On  his  first  visit  he  found  a gull,  which  he  brought  down.  On  his 
second  visit  he  found  a puffin  ( ?) ; on  his  third  visit  the  salmon  berries, 
then  a diver  (a  bird)  and  the  bird  xe'xexe.  After  his  sixth  visit  he 
brought  the  bird  atEhnkuli.  But  when  he  had  gone  up  the  tenth  time 
he  did  not  return  again.  His  mother,  Leelaiaqs,  and  his  father, 
Q’omxto-is,  mourned  for  him.  Finally  they  fell  asleep.  His  mother 
thought  that  in  her  dream  she  saw  a beautiful  house,  but  on  awaking 
she  recognized  that  what  she  believed  to  have  been  a dream  was  real. 
The  house  was  near  by,  and  her  son  MefiLa  was  sitting  in  front  of  it. 
She  awakened  her  husband  that  he  might  see  him.  They  jumped  up 
and  ran  toward  the  house.  But  it  retreated  from  them,  and  finally  they 
saw  that  it  was  in  reality  up  in  heaven.  Then  they  sat  down  and  cried, 
singing  “ Our  son  is  in  heaven  playing  with  Nusnu/sElis  (the  moon). 


414 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


Fig.  36. 

POST  OF  LE'LAXA  IN  XUMTA'SPE. 
From  a sketch  by  the  author. 


Never  will  he  return  to  us.”  When  they 
were  thus  singing,  their  niece  passed  by  • 
them,  and  they  told  her  that  they  had 
seen  Me'iLa  playing  in  front  of  the  moon’s 
house.  Their  niece  said,  “ Let  us  make 
him  appear  in  our  dances.”  The  parents 
of  the  boy  agreed  and  let  their  niece 
Q’oqome'tsEmqa  perform  the  Me'iLa 
dance.  They  gave  her  his  name. 

In  a number  of  cases  the  dance  or  the 
powers  obtained  by  the  ancestor  are  also 
represented  on  the  totem  carvings.  I will 
give  a few  examples  of  this  kind : 

There  were  the  fi  rst  of  the  Qoe/xsot’enox 
at  He'qams.  LaliliLax  came  to  be  their 
chief.  Now,  he  said  he  wanted  to  go  to 
the  river  of  Ga/yux  to  see  if  the  sockey- 
salmon  went  up  the  river.  He  went  far 
up,  but  did  not  find  a single  salmon. 
Then  he  forgot  why  he  had  gone  up  the 
river.  He  felt  dizzy.  All  of  a sudden  he 
saw  a pretty  man  sitting  on  a stone.  His 
face  was  like  that  of  a bird.  The  man  did 
not  see  La/liliLax.  The  latter  went  up 
to  him  and  stood  behind  him  while  the 
other  was  not  turning  his  head.  He  said, 

“ Friend,  what  are  you  doing  here?” 
Now  the  man  turned  his  head  and  spoke: 

“ Thank  you,  friend,  that  you  came  so 
that  I could  see  you.  I am  the  one  who 
thunders  from  the  one  end  to  the  other 
end  of  the  world.”  La/liliLax  replied: 
“Q,  master,  I came  here  for  your  sake. 
Now  give  me  a magic  treasure.”  Then 
themanspbke:  “Make  a house  and  in- 
vite all  the  tribes.”  He  showed  him  the 
carving  of  the  thunder  bird,  with  two 
spread  legs.  They  say  it  was  as  long  as 
a forefinger.  The  man  spoke:  “Its  legs 
are  the  door  of  the  house.  This  is  my 
ornament  of  red  cedar  bark  around  its 
head.  The  heads  on  it  were  given  to  me 
by  my  father  that  I should  eat  them. 
This  image  of  a man  you  shall  place  in 
the  rear  of  your  house.  It  is  the  image 
of  my  father.  (Plate  22.)  In  the  coming 


Report  of  U.  S National  Museum,  1895.— Boas. 


Plate  22. 


Posts  in  House  of  Qoe'xsot’enox. 

Nos.  gV6s,  gVi,  American  Museum  of  Natural  History,  New  York.  Collected  by  F.  Boas. 


THE  KWAKIUTL  INDIANS. 


415 


night  this  shall  be  in  your  village.  These  shall  be  your  magic  treasures : 
the  water  of  life,  the  death  bringer,  and  the  fire  briuger  which  will 
destroy  your  enemies,  and  the  property  bringer.  Now  you  are  a chief. 
You  will  be  a thunder  dancer,  and  your  name  shall  be  KukunXpalisila, 
the  one  who  thunders  from  the  one  end  of  the  world  to  the  other,  and 
human  heads  will  be  on  your  cedar 
bark  rings  and  on  your  neck  ring, 
and  your  chief’s  name  shall  be 
Ya/qaLEnlis  (property  on  body).” 

Then  the  man  disappeared.  La/lili- 
Lax went  home.  His  wife  tried  to 
give  him  food,  but  he  did  not  take 
it.  His  tribe  thought  that  he  had 
obtained  a magic  treasure.  At 
night  his  people  slept.  In  the  morn- 
ing they  came  into  his  house.  Then 
La/liliLax  looked  at  his  house.  He 
saw  the  post  of  his  house,  and  then 
he  sang  his  secret  song.  He  was  glad  that  he  had  received  this  house, 
because  all  had  come  what  the  man  had  told  him.  This  is  the  secret 
song  of  La/liliLax: 


Fig.  87. 

MASK  REPRESENTING  o’A'MTALAL  AS  THE  THUNDER 
BIRD. 

Cat.  No.  175523,  U.  S.  N.  M.  Collected  by  F.  Boas. 


My  name  will  be : property  drifting  toward  me  on  account  of  my  property-bringer. 
Yao,  yao,  yao,  ha,  yao,  ha,  yao. 

The  coppers  all  drift  to  me  on  account  of  the  copperbringer.  Ha,  ha,  ha,  ha,  ha, 
ha,  ha,  ha,  oh,  oh,  ho,  ho,  ho,  ho,  oh,  oh.! 


Then  La/liliLax  told  his  tribe  to  invite  all 
the  tribes.  The  speakers  went  out  between 
the  legs  of  the  thunder  bird, which  formed  the 
door  of  the  house,  and  he  gave  a winter  cere- 
monial. He  was  the  thunder  dancer.  He 
owned  the  red  cedar  bark  of  the  thunder 
bird  and  his  name  was  Ya/qaLEnlis.  All 
the  tribes  who  were  invited  came,  and  he 
gave  away  sea-otter  blankets,  lynx  skins, 
bear  skins,  marten  skins,  mink  skins,  and  all 
kinds  of  skins.  His  clan  were  the  G-e'xsEm 
of  the  Qoe'xsot’enox.  Then  GEde',  chief 
of  the  Lau'itsis,  engaged  himself  to  marry 
LaliliLax’s  daughter.  Her  name  was  A;o- 
maL;  he  agreed, and  very  soon  GEde' married 
her.  He  gave  his  house  and  his  name  to  his 
son-in-law,  and  GEde'  invited  all  the  tribes 
when  he  got  the  house  and  name.  GEde/’s 
Then  Ye/qug-alag-ilis,  chief  of  the  Q’o'moyue, 
engaged  himself  to  marry  the  daughter  of  GEde'.  The  latter  consented, 
and  Ye'qug-alagfilis  married  the  daughter  of  GEde',  who  gave  him  his 


Fig.  38. 

MASK  REPRESENTING  o’A'MTALAL. 
Cat.  No.  175524,  U.  S.  N.  M.  Collected  by  F. 

clan  were  the  SksEnLae. 


iThis  is  the  call  of  Ts’o'noqoa;  it  means  that  be  is  lifting  bis  heavy  property  from 
tbe  ground,  as  though  ridiculing  his  rival. 


416 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


liouse  and  liis  name.  His  clan  were  the  Laxse  of  the  Kue'xa.  Then 
Ye'qug-alag-ilis  invited  all  the  tribes  to  a feast  which  he  gave  with  what 
h e had  received  from  his  father-in  -law ; the  coppers,  canoes,  slaves,  boxes, 
covers,  and  names.  Now  Ye'qug'alag-ilis  took  the  name  LaTiliLax  and 
the  name  for  the  winter  ceremonial  that  belongs  to  it.  That  is  the  end. 


rig.  39. 

HEAD  RING  OP  o’A'MTALAT,. 

Cat.  No.  175503,  U.  S.  N.  M.  Collected  by  F.  Boas. 


The  following  legend  belongs  to  the 
subdivision  Me/Emaqaae  of  the  Naqo7- 
mg-ilisala  and  explains  the  post  shown 
in  fig.  36  (see  also  pp.  332  and  376) : 
Aman  lived  in  a house  at  Gdge/LEm. 
He  tried  to  find  the  sUsiuL  for  his  mag- 
ical treasure,  but  he  was  unsuccessful. 
He  only  died.  Then  his  tribe  put  up  a 
false  grave  for  him.  But  hehadfound 
a magical  treasure  and  went  up  to 
heaven.  Blood  was  put  on  his  false 
grave,  and  a sun  was  painted  on  it. 
After  four  days  it  began  to  thunder.  Le'laxa  thundered.  He  came 
down  to  the  beach  earlyin  the  morning  in  the  shape  of  the  thunder  bird. 
He  took  off  his  mask,  and  they  recognized  LeTaxa.  Then  he  showed  his 
magical  treasures;  the  thunderbird  mask,  the  two-face  mask,  and  the 
morning  mask.  He  was  ma/maqa.  He  threw  the  worm  against  his  ene- 
mies (see  p.485).  He  was  ts’e'kois1 
and  se'lis.1  He  had  the  frog,  and 
the  ma/maqa  who  carries  spear 
points.  He  was  cannibal  and  pa7- 
xala.  He  was  tfe'nqoa.  The  thun- 
der-bird mask  belongs  to  the  no'n- 
LEm,  the  other  to  the  winter  cer- 
emonial. That  is  the  end.2 

The  clan  -^VmS’amtElaL  of  the 
TsVwatEenox  has  a number  of 
carvings  and  ornaments,  the  use  of 
which  is  authorized  by  the  follow- 
ing tradition,  which  tells  of  the 
meeting  of  the  ancestor  of  the  clan 
with  the  deity: 

jcj’a'mtalaL  was  the  name  of  the 
chief  who  lived  on  one  side  of  the 
river  Ts’a/wate.  XYnt’alaqa  was 
the  name  of  his  wife.  BVualag-i- 
lak11  was  his  son.  Nau'alagumqa 
and  Ts’e'stalis  were  his  daughters. 

-9’a'mtalaL  was  making  a salmon  trap.  A man  came  and  looked  at 
him  and  his  hammer  fell  into  the  water.  But  x)’a/mtalaL  just  said 
“lioi'p,”  and  the  hammer  floated.  It  was  Qa/niqilaku  who  was  watching 


Fig.  40. 

NECK  RING  OP  g’A'MTALAL. 

Cat.  No.  175505,  U.  S.  N.  M.  Collected  by  F.  Boas. 


These  will  be  described  later.  See  page  493. 


See  Appendix,  page  685. 


THE  KWAKIUTL  INDIANS. 


417 


him  and  wlio  made  the  hammer  fall  into  the  water.  Twice  the  hammer 
fell  into  the  water,  but  when  he  said  “ hobp,”  it  floated.  Then  Qa'niqilak11 
spoke  to  x)VmtalaL:  “Who  are  you?”  “I  am  -^VmtalaL.”  Then 
Qa/niqilaku  said  merely:  “O,  friend.”  Now  -^VnitalaL  asked  in  his  turn : 
“Who  are  you,  friend?”  and  Qa'niqilak"  replied,  “I  am  Qa/niqilak", 
friend.”  Nau'alagumqa  knew  Qa/niqilaku7s  thoughts.  She  went  to 
her  house  and  closed  all  the  chinks  and  holes.  She  knew  that  Qa/ni- 
qilak11  was  going  to  make  a flood.  She  and  her  sister  finished  closing 
the  chinks  and  holes  of  the  house.  Qa/niqilaku  spoke:  “ Is  it  true  that 
you  are  a shaman,  friend  ? ” It  is  said  that  -ryVmtalaL’s  face  was  almost 
covered  by  his  head  ring  of  red  cedar  bark.  “Give  me  some  of  your 
cedar  bark,  xya'mtalaL,”  said  Qa/niqilak".  Then  x)VmtalaL  tore  a 
piece  of  bark  from  his  ring  and  gave  it  to  Qa/niqilak".  Now  Qa/niqilak11 
made  the  tide  rise,  but  ^a'mtalaL  merely  said  “hoi'p,”  and  the  water 
ceased  rising.  Then  Qa/niqilak11  said:  “Truly  you  can  work  miracles.” 
Now  jyVmtalaL  sent  his  children  home.  They  left  their  father.  As 
soon  as  they  arrived  in  their  house,  our  Lord  Qa/niqilak11  made  a flood. 
Then  -^VmtalaL  died.  Then  B’a/Lalag*ilak11  took  the  place  of  his  father. 
When  the  tide  had  gone  down,  he  saw  an  oulachon  in  the  river.  He  did 
not  know  what  kind  of  fish  it  was.  Then  he  went  home  with  his  sis- 
ters. He  asked  his  mother : “ What  is  swimming  in  the  river  here?  It 
looks  like  worms.”  She  replied:  “Those  are  oulachons.  They  are  fat. 
Make  a trap  at  the  point  on  the  beach  where  the  drift  logs  are  and  make 
a string  of  grass  and  try  to  fish.” 

Then  he  went  back  to  the  river  and  saw  a canoe  coming.  It  stopped  on 
the  beach  in  the  same  place  where  B’a/Lalagdlak"  was  sitting.  We'qae 
was  in  the  canoe.  He  spoke:  “What  are  you  doing  at  my  river?” 
B’a/nalag-ilak11  replied : “Is  that  your  river?  Then  tell  me  what  kinds  of 
fish  go  up  the  river?  ” We'qae  said : “These  are  the  kinds  of  fish  that 
go  up  my  river:  Steel  head  salmon,  spring  salmon,  silver  salmon,  dog 
salmon,  humpback  salmon,  trouts,  that  is  all.”  Then  B’a/Lalag'ilak" 
replied:  “ Is  that  all  that  goes  up  the  river?”  We'qae  said:  “That  is 
all.”  But  B?a/Lalag*ilaku  added : “ Oulachon  go  up  my  river.”  “Oh,  I for- 
got that.  Let  us  go  ashore.  I want  to  take  that  boy  into  my  canoe,”  said 
We/qae.  B’a/Lalag-ilak’1  asked  his  sisters  to  stay  where  they  were.  He 
was  taken  and  tied  in  We'qae’s  canoe.  He  made  him  a slave.  Now  tliej^ 
went  down  the  inlet  and  came  to  Dox’ualits’enae.  Then  B?a/Lalag*ilaku 
moved  in  the  canoe  and  flew  away.  In  vain  they  tried  to  catch  him 
with  their  paddles.  He  flew  home.  We'qae  traveled  on  and  came  to 
Qa/qetEn.  There  he  saw  the  thunder  bird  sitting  on  a rock.  He  landed 
under  the  mountain  where  the  thunder  bird  was  sitting,  but  he  did  not 
go  out  of  his  canoe.  Then  the  thunder  bird  sent  the  wind  maker  to 
hear  what  they  said.  He  went  down  and  heard  We'qae  saying:  “I 
thought  he  always  made  it  hail.”  Then  the  wind  maker  went  back  to 
tell  the  thunder  bird  what  he  had  heard.  Now  the  thunder  bird  arose 
and  went  into  his  house.  He  put  on  his  eagle  dress  and  came  out  again. 

NAT  MUS  95 27 


418 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


Eight  away  there  was  thunder  and  lightning  and  a hail  storm  and  a 
gale  was  blowing  in  Ts’a/wate.  Then  We'qae  was  blown  up  the  inlet. 
In  this  manner  the  Le'kwiltoq  obtained  the  oulachon. 

Figures  37  and  38  show  xyVmtalaL,  who  came  down  in  the  shape  of  a 
thunder  bird  from  heaven,  took  off  his  bird  mask,  and  became  a man. 
Figures  39  and  40  show  his  cedar-bark  ornaments. 

YII.  The  Organization  of  the  Tribe  during  the  Season  of 
the  Winter  Ceremonial. 

In.  the  preceding  chapter  I have  described  a number  of  spirits  which 
appear  to  the  Indians  and  are  supposed  to  bestow  supernatural  powers 
upon  them.  From  the  legends  which  I have  told,  it  appears  that  these 
spirits  appeared  first  to  the  ancestors  of  the  clan,  and  I have  stated 
that  the  same  spirits  continue  to  appear  to  the  descendants  of  these 
mythical  ancestors.  The  number  of  spirits  is  limited,  and  the  same  one 
appeared  to  ancestors  of  various  clans  of  different  tribes.  But  in  these 
cases  he  gave  each  of  his  proteges  his  powers  in  a slightly  different 
form.  In  fact  each  name  of  the  nobility  (as  described  on  p.  338)  has  a 
separate  tradition  of  the  acquisition  of  supernatural  powers,  and  these 
have  descended  upon  the  bearers  of  the  name.  As  indicated  in  some  of 
the  traditions,  the  spirits  give  new  names  to  the  men  to  whom  they  appear, 
but  these  names  are  in  use  only  during  the  time  when  the  spirits  dwell 
among  the  Indians — that  is,  in  winter.  Therefore,  from  the  moment 
when  the  spirits  are  supposed  to  be  present,  all  the  summer  names  are 
dropped,  and  the  members  of  the  nobility  take  their  winter  names. 

It  is  clear  that  with  the  change  of  name  the  whole  social  structure, 
which  is  based  on  the  names,  must  break  down.  Instead  of  being 
grouped  in  clans,  the  Indians  are  now  grouped  according  to  the  spirits 
which  have  initiated  them.  All  those  who  are  protected  by  Baxbaku- 
alanuXsi'wae  form  one  group*  those  who  stand  under  Wma/lag-ilis 
form  another  group,  etc.,  and  in  these  groups  divisions  are  made 
according  to  the  ceremonies  or  dances  bestowed  upon  the  person. 

Thus,  at  the  time  of  the  beginning  of  the  winter  ceremonial  the 
social  system  is  completely  changed.  The  period  when  the  clan  sys- 
tem is  in  force  is  called  ba/xus,  which  term  also  designates  those 
who  have  not  been  initiated  by  any  spirit,  and  might  be  translated 
u profane.”  The  period  of  the  winter  ceremonial  is  called  ts’e'ts’aeqa, 
the  secrets,  which  term  designates  also  the  ceremonial  itself.  It  is 
also  called  ts’e'qa  (singular  of  ts’e'ts’aeqa) ; aik-’e/gala  (making  the 
heart  good);  and  g*a7xaxaak11  (brought  down  from  above).  The  In- 
dians express  this  alternating  of  seasons  by  saying  that  in  summer 
the  ba'xus  is  on  top,  the  ts’e'ts’aeqa  below,  and  vice  versa  in  winter. 

During  this  period  the  place  of  the  clans  is  taken  by  a number  of 
societies,  namely,  the  groups  of  all  those  individuals  upon  whom  the 
same  or  almost  the  same  power  or  secret  has  been  bestowed  by  one  of 
the  spirits.  Thus  the  ha/mats’a,  nu/LmaL,  bear  dancers,  etc.,  form  each 
one  society,  which  Consists  of  a limited  number  of  names,  because  the 


THE  KWAKIUTL  INDIANS. 


419 


members  of  the  society  derive  each  their  membership  from  the  initia- 
tion of  one  of  the  ancestors  of  the  nobility.  These  ancestors  have 
each  only  one  representative  at  a time.  But  many  of  them  are  grouped 
together,  as  will  be  presently  described. 

It  follows  from  these  facts  that  a new  member  of  a society  can  be 
admitted  only  when  another  one  is  dropped,  whose  place  he  then  takes. 
The  custom  is  analogous  to  the  transfer  of  a position  in  the  nobility  to 
a youth;  the  old  member  transfers  his  rights  to  a young  man  and  drops 
out  of  the  ranks  of  the  society. 

The  dancers  (or  societies)  are  arranged  in  two  principal  groups,  whose 
names  among  the  Kwakiutl  proper  are  the  seals  (me'emqoat)  and  the 
que'qutsa.  The  former  embrace  a number  of  dancers  and  societies 
of  dancers — the  ha/matsa,  hahnshamtsEs,  k-inqalaLala,  no'ntsistalaL, 
qoe'qoasElaL,  q’o'minbqa,  na/ne,  nu'LmaL.  They  are  the  highest  in 
rank.  All  the  others  are  que'qutsa.  These  are  subdivided  in  smaller 
groups  according  to  age  and  sex,  as  follows: 


Males. 

1.  NaanE'Xsok11,  boys. 

2.  Maa'mx’endx  (killer  whales),  young 

men. 

3.  DVd’opa  (rock  cods),  young  men, 

about  twenty -five  years  old. 

4.  i/e'i/exEn  (sea  lions),  older  men. 

5.  Qoe'qoim  (whales),  chiefs. 

6.  Qo'qosqimo  (Koskimos),  old  men. 

7.  He'mElk  (eaters),  head  chiefs. 


Females. 

8.  Keki'xalak11,  girls. 

9.  Qaqaqao'  (hens),  young  women. 

10.  Mo'smos  (cows),  old  women. 


The  number  of  these  societies  has  undergone  frequent  changes,  but 
the  Maa'mx’enox,  D’o'd’opa,  L’e'ifexEn,  and  Qoe'qoim  have  always 
remained.  The  present  societies  of  the  women  are  quite  new,  as  is 
shown  by  their  names — hens  and  cows.  The  former  were  called  until 
about  twenty  years  ago  wa'xwaxoli. 

The  La'Lasiqoala  are  divided  in  the  following  way:  The  group  cor- 
responding to  the  seal  group  is  called  q’a/q’anas  (a  small  black  shell- 
fish). They  embrace  the  ha/mats’a,  ma/maq?a,  t’o'x’uit  (o'lala),  hai'a- 
lik-ilaL,  ts’e'koisc,  sefiics,  ts’e'koa’ta’,  yiya/LalaL. 

The  societies  corresponding  to  the  que'qutsa  divisions  are  the 
following : 

Males.  Females. 


1.  x-I'xdtpa  (puffins),  little  boys. 

2.  Laa'lk’o  (mallard  ducks),  boys. 

3.  K-’ik-’inALa  (sea  anemones),  sick  and 

lame  people. 

4.  G-a’g’iinola  (halibut  hooks),  young 

chiefs. 

5.  Ne'ntsae  (red  cod),  third-class  chiefs. 

6.  i/e'L’axan  (sea  lions),  men  about  30 

years  old. 

7.  Mo'omguana/le  (anchor  lines  of  tribes), 

old  chiefs. 


8.  Ha/iaxaqEmae  (eating  first),  girls. 

9.  Ts’ets’aexsaq  (a  species  of  birds), 

women. 

10.  Ba/baLe  (albatrosses),  old  women. 


420 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


The  Xaq'oaqtoq  are  divided  as  follows : The  group  corresponding  to 
the  seals  are  called  wu'n’awunxus,  the  troublesome  ones.  They  em- 
brace hamats’a,  bear,  and  ma/inaq’a.  I have  not  a complete  list  of  the 
subdivisions  of  the  que'qutsa. 

L’o'L’Epana  (cormorants)  are  the  chiefs,  esElaliLtsawe  qoayi'm  (the 
whales  for  whom  one  waits),  are  the  young  men,  ts’e'ts’eg-inaqa  (gulls), 
the  elder  boys. 

The  group  corresponding  to  the  seal  group  is  called  among  the 
Koskiino  tsTbqolagulis,  and  embraces  wolves  and  ha/mats’a.  The  chiefs 
among  this  tribe  are  called  tVt’opa  (rock-cods),  and  the  higher  chiefs 
na/ne  (bears).  The  middle-aged  men  are  called  gue'guso  (pigs). 

The  que'qutsa  groups  of  all  these  tribes  embrace  those  individuals 
who,  for  the  time  being,  are  not  possessed  by  the  spirits.  A member 
of  the  que'qutsa  may  at  any  time  be  initiated  by  a new  spirit  and  then 
he  or  she  leaves  their  ranks.  Or  he  may  become  possessed  of  his 
spirit  and  show  his  dance  or  ceremony.  Then  he  is  for  the  time  being 
not  considered  as  one  of  the  que'qutsa,  but  simply  as  one  of  these 
dancers.  Therefore  the  que'qutsa  correspond  very  nearly  to  the  group 
of  people  who  have  resigned  their  places  in  favor  of  younger  ones,  as 
these  also  may  reenter  the  ranks  of  the  nobility  by  marrying  and  thus 
obtaining  a new  name. 

The  seal  society  are  subdivided  in  two  groups : The  la'xsa  (gone  into  the 
house),  those  who  have  gone  through  the  house  of  BaxbakualanuXsI'wae 
and  learned  all  his  secrets,  and  the  wu'xsa  (not  gone  into  the  house), 
those  who  have  only  “ leaned  against  its  walls.”  All  the  dancers  who 
are  instructed  by  BaxbakualanuXsUwae,  the  ha/mats’a,  ha'mshamtsEs, 
BaxbakualanuXsUwae’s  grizzly  bear,  k-i/nqalaLala  and  q’b'miuoqa 
belong  to  the  la'xsa;  the  others  are  wl'xsa. 

Each  dance  (le'da)  has  two  names  belonging  to  it — the  dance  name 
(ledaenexLa/ya)  and  the  que'qutsa  name  (que'tsExLa/ya)  which  latter 
the  individual  assumes  when  giving  up  his  dance  in  favor  of  a younger 
man,  or  which  he  has  when  not  performing  his  dance  or  ceremony. 

The  two  groups,  the  seals  and  the  que'qutsa,  and  the  corresponding 
ones  among  the  other  tribes,  are  hostile  to  one  another.  The  seals 
when  excited  attack  and  torment  the  que'qutsa;  the  latter,  on  the  other 
hand,  tease  and  torment  the  members  of  the  seal  society.  While  most 
of  the  dancers  join  during  the  greater  part  of  the  tsWts’aeqa  season 
the  que'qutsa  and  perform  their  dances  only  at  certain  occasions,  the 
members  of  the  seal  society,  particularly  the  highest  ones,  the  ha/mats’a, 
must  stay  with  their  society,  and  even  when  they  intend  to  give  up 
their  dance  the  que'qutsa  try  to  prevent  them  by  all  possible  means. 

It  will  be  noticed  that  most  of  the  subdivisions  of  the  que'qutsa 
have  animal  names.  For  this  the  Indians  give  the  explanation  that 
the  ceremonial  was  instituted  at  the  time  when  men  had  still  the  form 
of  animals;  before  the  transformer  had  put  everything  into  its  pres- 
ent shape.  The  present  ceremonial  is  a repetition  of  the  ceremonial 


THE  KWAKIUTL  INDIANS. 


421 


performed  by  tlie  mail  animals  (nu'xnemis)  or,  as  we  may  say,  a drama- 
tization of  the  myth.  Therefore  the  people  who  do  not  represent  spirits, 
represent  these  animals. 

As  might  be  supposed  from  the  laws  governing  the  clan  system,  the 
“dance”  is  principally  acquired  through  marriage.  Together  with 
the  house,  the  carvings,  and  names  of  the  father-in-law,  the  young  man 
obtains  his  dance  name  and  que/qutsa  name,  but  not  for  his  own  use. 
They  are  given  to  his  successor  (Lawu'lqame),  who  is  initiated  in  the 
prescribed  way  and  then  performs  the  ceremony.  But  the  son-in-law 
of  the  former  owner  controls  the  dance.  It  can  be  shown  only  with 
his  consent,  and,  when  another  man  marries  his  daughter,  he  may  take 
it  away  from  his  successor  and  give  it  to  this  person,  who  then  owns 
and  controls  it. 

By  means  of  marriages  with  the  Awl'k-’enox  and  He'iltsuq  the  num- 
ber of  dances  of  the  Kwakiutl  has  been  materially  increased. 

I can  now  describe  the  manner  in  which  these  privileges  which  are 
obtained  by  marriage  are  transferred  by  a man  to  his  son-in-law.  I 
stated  previously  (p. 

359)  that  according 
to  the  number  of 
children  of  the  couple 
the  purchase  money 
which  was  given  by 
the  young  man  to  his 
father-in-law  at  the 
time  of  marriage  is 
returned  with  from 
100  to  300  per  cent  of 
interest.  As  the  time  approaches  when  this  money  must  be  returned,  the 
father-in-law  calls  in  all  his  outstanding  debts  and  gathers  all  his  prop- 
erty, until  he  has  a large  stock  of  food,  blankets,  boxes,  dishes,  spoons, 
kettles,  bracelets,  coppers,  and  the  ceremonial  box  lids  (gu'sExstala  or 
koqetaya/no).  These  are  old  lids  of  boxes,  some  evidently  of  very  great 
age.  Their  shape  is  the  same  as  that  of  the  lids  which  are  still  in  use,  but 
the  front  x)art  is  much  higher  and  painted  with  designs  representing  faces 
and  set  with  sea-otter  teeth  (fig.  41).  The  bracelets  are  tied  to  sticks,  ten 
to  each  stick ; besides  the  large  coppers,  small  ones,  about  an  inch  or  two 
in  length,  are  used.  Four  of  these  are  tied  together  and  to  the  end  of  a 
stick.  When  the  father-in-law  has  collected  the  necessary  amount  of 
property,  he  is  ready  for  the  ceremony  of  the  return  of  the  purchase  money 
(qaute'x'a).  This  may  be  done  either  in  the  ba/xus  season  or  during  the 
ts’e'ts’aeqa.  The  ceremonies  at  both  seasons  are  much  alike.  I will 
describe  here  the  former,  as  the  latter  form  a part  of  the  winter  cere- 
monial. The  father-in-law  calls  his  clan  together.1  They  all  come,  and 

1 Saying  to  liis  messengers,  Hag-a  Le'lala  xeus  nE’ine'mnta. 

Go  call  our  clan. 


g-Fsexstala,  ceremonial  box  lid. 

IV  A,  No.  1128,  Royal  Ethnographical  Museum,  Berlin. 


422 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


at  this  meeting  he  informs  the  people  what  amount  of  property  he  is 
going  to  give  to  his  son-in-law,  and  what  names  the  latter  is  to  receive 
from  him;  also  if  he  is  going  to  receive  his  house,  his  carvings,  and 
his  dance.  The  clan  offer  the  father-in-law  their  help  if  he  should 
not  have  enough  property.  On  the  following  morning  the  father-in-law 
and  the  son-in-law  each  call  their  clan.  The  young  man  assembles  his 
people  in  his  house  and  tells  them  what  he  expects  his  father-in-law  to 
give  him,  and  requests  the  people  to  dress  as  nicely  as  they  can.1  They 
put  on  their  button  blankets  and  down  and  paint  their  faces.  They 
remain  in  front  of  their  house  while  the  father-in-law's  people  take 
the  ceremonial  box  lids  and  place  them  on  the  beach  in  the  form  of 
a square,  the  sides  of  which  are  about  100  feet  long.  This  is  called 
the  canoe  (ma/wa),  and  all  the  property  that  is  to  be  given  to  the  son- 
in-law  is  placed  in  this  inclosure.  From  one  or  two  corners  of  this 
u canoe”  cedar  bark  ropes  are  stretched  to  the  front  corners  of  the 
young  man’s  house.  All  the  spoons  and  dishes  which  the  father-in-law 
is  going  to  give  away  are  tied  to  them.  They  are  called  the  anchor 
line  of  the  canoe.  The  father-in-law  calls  his  clan  inside  the  square.2 
They  all  carry  staffs.  One  of  them  sings  out  “hft,  liu,  lift!”  and  all 
respond,  wft!  This  is  repeated  four  times.  The  clan  of  the  son-in-law, 
who  are  on  the  summer  seat  in  front  of  the  house,  repeat  the  cries. 
After  this  each  party  sing  ten  songs  in  turn.  Then  the  wife  of  the  son- 
in-law  steps  out  of  the  canoe  dressed  in  her  best.  She  wears  a blanket 
set  with  abalone  shells.  A large  abalone  shell  is  fastened  to  her  nose  by 
strings  which  pass  over  her  ears,  as  the  shell  is  too  heavy  to  be  worn 
suspended  from  the  septum.  For  the  same  reason  her  earrings  are  worn 
suspended  from  the  hair.  She  performs  a dance,  after  which  her  orna- 
ments are  given  to  her  husband. 

The  mother-in-law  is  also  in  the  u canoe.”  It  is  customary  that  dur- 
ing the  time  preceding  this  festival  people  of  her  own  and  other  tribes 
send  her  small  presents  of  food  or  help  her  carry  water.  In  return, 
she  gives  those  who  have  been  kind  to  her  bracelets  from  out  of  the 
u canoe.” 

Now  the  speaker  of  the  father-in-law  calls  the  son-in-law,  saying: 
“Oome,  take  care  of  yourself,  else  you  will  have  bad  luck.”3  He  calls 
four  men  of  his  own  clan  and  says  to  them : uOome ! take  hold  of  our 
property  that  we  have  in  our  canoe.”  4 Then  turning  again  to  the  son- 
in-law,  he  continues : u I made  an  anchor  line  of  spoons.5  I pay  you 

1Wa/x;amlis  qoa/lax  q’a/laXda6xLOL;  t’E'nxaxdaoxLES. 

Xever  mind  you  dress  to  the  highest  pitch ; stride  on  the  tips  of  your  toes. 

2Qe'laxdaox  la/g*a  hau'guxsa. 

Come  go  into  the  canoe. 

3We/g-a,  ya/UosLax,  nEgd'mp  ! Ya/La’no  a/Lae  a’me'La. 

Come,  take  care,  son-in-law!  Take  care  else  you  had  luck. 

4Qe'laxdaox,  la/g-a  qans  da/daxsilax-’itaans  sa'xEns  mEm’wale  qans 
Come ! go  our  we  handle  many  things  of  our  our  loaded  canoe. 

5La,mEn  mo'kuanala  xex  k'a/tsEnaq. 

I anchor  line  these  spoons. 


THE  KWAKIUTL  INDIANS. 


423 


capital  and  interest  with  these  button  blankets.  This  is  grease,  my 
son-in-laAv!  This  is  food  for  your  feast.  Your  name  will  be  (Ma’na- 
kula).  When  we  turn  to  the  ts’e'tsaeqa  your  name  will  be  (He'iLtsa- 
qolis).”* 1 

When  enumerating  the  blankets,  grease,  and  food,  the  speaker 
does  not  point  at  them,  but  takes  up  sticks  which  represent  these 
presents. 

Then  the  speaker  takes  up  a box  in  which  the  badges  and  whistles 
of  the  winter  dance  are  tied  up.  The  box  must  be  hidden  under 
the  blanket,  because  it  is  ba/xus  season  and  nobody  must  see  it. 
He  says:  “Come,  son-in-law,  and  take  my  box.”2  The  young  man 
takes  it  and  hides  it  at  once  under  his  blanket,  saying:  “I  shall 
hide  this.  Thank  you.”3  He  carries  it  to  his  house  at  once.  Then 
the  father-in-law’s  speaker  takes  up  the  copper.  If  the  father-in-law 
has,  at  the  time  when  he  married,  given  as  many  as  four  coppers,  he 
will  sing  out: 

Ha,  ha,  ha,  ha,  ha,  hu,  hu. 

The  speaker  holds  up  the  copper  and  says:  “Son-in-law!  Now  I 
give  you  the  mast  of  my  canoe  (the  copper).  Its  name  is  (Ma'mo- 
kulelag-a).4  The  son-in-law  carries  it  to  his  house,  and  when  he  comes 
back,  the  speaker  says:  “And  now  I give  you  boxes  from  out  of  my 
canoe.” 5 

After  all  the  presents  have  been  given,  the  son-in-law  and  a few  of 
his  friends  go  to  his  house.  The  rest  of  his  friends  go  up  behind  the 
houses  and  walk  secretly  up  to  the  end  of  the  village.  When  they 
have  assembled  there,  they  suddenly  rush  down  to  the  “canoe”  and 
with  an  ax  split  one  of  the  box  covers  forming  a corner  of  the  canoe. 
While  they  are  doing  so  the  men  who  went  into  the  house  are  beating 
time  and  the  members  of  the  secret  societies  utter  their  cries,  although 
it  is  ba'xus  season.  This  is  called  “ sinking  the  canoe”  (tso'kunsa). 
The  man  who  split  the  box  cover  says:  “Now  our  loaded  canoe  is 

Ta’mEn  wuLeLe'k-ila  Lxe'x  da  k-6'kuextala.  EtfoLteLai'  nEgumpai'  i/eneqai', 

I pay  with  interest  these  the  button  blankets.  Also  out  of  canoe  son-in-law  grease, 
liamayeqai'  qa  es  Le'luxLaos  iiEgii'mpe.  LeeqamLaos  nEgiCmpe  la'ams 
food  for  you  you  invite  them  son-in-law.  Your  name  will  be  son-in-law  you  are 
Ma’nakula  lol.  Lex-ils  leds  na/la,  la’arns  He'iLtsaqdlis. 

Ma’nakula  you  will  be.  When  turns  our  day  you  are  He'iLtsaqolis. 

(to  s’etsa'eqa) 

2Qe'la,  ax'ai/tax  g*ln  g-iltastl'k*. 

Come,  take  my  box  here. 

3 A Em  LEn  q’laVit  Laqak’.  Qelak^aela, 

Only  I hide  this  red  cedarbark.  Thanks. 

4 La’men  Lak'e’ya/laxeqak,  uEgumpak  g-at  Ma'mokulelag’ai'. 

I now  mast  of  canoe  son-in-law  this  Ma'mokulelag-a. 

5Laam  laLOLai'  nEgumpai'  qatsEmeqai/. 

Then  I give  out  of  son-in-law  boxes, 

canoe 


424 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


broken;”1  and  the  son-in-law  replies;  Let  us  be  glad.”2 *  Then  he 
sings  the  following  song  of  joy: 

I will  go  and  tear  to  pieces  Mount  Stevens,  I will  use  it  for  stones  for  my  fire, 

I will  go  and  break  Mount  Qa/tsta'is,  I will  use  it  for  stones  for  my  fire; 

Wealth  is  rolling  down  to  him  from  the  great  chiefs, 

Wealth  is  rolling  down  to  him  from  all  sides;  all  the  chiefs  go  to  him  for  protection. 

The  breaking  of  the  canoe  indicates  that  all  the  property  given  to 
the  young  man  will  be  at  once  distributed  among  the  tribe.  This  is 
done  on  the  subsequent  day. 

There  is  still  another  way  by  which  a dance  may  be  obtained — the 
same  as  the  crest  and  ba'xus  (clan)  names — namely,  by  killing  its 
owner.  It  is  said  that  many  dances  were  introduced  among  the 
Kwakiutl  and  related  tribes  in  this  manner.  I will  give  a few  exam- 
ples of  this  custom,  to  which  I briefly  alluded  at  a former  place,  but 
which  I could  not  treat  fully  there,  because  the  custom  is  so  intimately 
connected  with  the  winter  ceremonials.  The  first  instance  about  which 
I learned  is  the  following: 

Formerly  the  Ma'tilpe  had  no  ha/mats’a,  but  only  hahnskamtsES, 
and  the  other  tribes  would  not  allow  them  to  obtain  one  through  mar- 
riage. At  one  time  a canoe  of  northern  tribes  passed  near  the  village 
of  the  Ma'tilpe.  Two  young  men  observed  it,  and  they  saw  that  there 
were  four  men  and  two  women  in  the  canoe,  one  of  whom  wore  the 
badges  of  the  ha/mats7a.  Then  the  two  Ma/tilpe  youths  determined  to 
kill  the  ha/mats’a  in  order  to  obtain  his  dance.  They  paddled  up  to  the 
strangers,  who  asked  the  two  young  men  to  direct  them  to  a camping 
place.  They  did  so.  Then  they  hid  their  guns  in  the  bushes  near 
by,  and  told  the  strangers  that  they  were  on  their  way  to  look  after 
their  traps.  They  asked  for  the  loan  of  the  strangers7  guns.  When  they 
had  received  them,  they  went  to  the  place  where  they  had  hidden  their 
own  weapons,  loaded  them  and  shot  the  four  men  and  the  two  women. 
One  of  the  youths  took  the  cedar  bark  ornaments  of  the  ha/mats7a. 
He  found  his  whistles  in  a bag.  At  once  he  began  to  utter  the 
ha/mats7a7s  cry  u hap,  hap,”  for  now  he  had  the  right  to  use  the  dance 
owned  by  the  man  whom  he  had  killed.  He  also  took  two  coppers 
which  he  found  in  the  canoe.  This  method  of  obtaining  a dauce  and 
other  objects  is  called  kue'xanEm,  obtained  by  killing. 

It  is  the  same  when  a novice  who  is  being  initiated  is  found  in  the 
woods — the  person  who  finds  him  may  kill  him.  The  murderer  then 
obtains  his  dance,  and  the  relatives  of  the  novice  are  not  allowed  to 
take  revenge. 


1 Laamx  laxsaLe  g'fns  mo'qame’x’tik’. 
This  is  broken  on  our  loaded  canoe  bene. 

the  water 

2 We'g'a  x-ins  mo'lx-’ita. 

Let  us  be  glad. 


THE  KWAKIUTL  INDIANS.  425 

The  following  very  characteristic  descriptions  were  given  to  Mr. 
George  Hunt  in  the  summer  of  1895.  He  tells  them  as  follows : 

I was  walking  on  the  street  of  the  Ximkish  village  when  I saw 
He/x-hak’Eu,  who  was  sitting  on  his  summer  seat.  He  called  me  and 
said:  “O,  my  dear!  Your  days,  young  men,  are  good.  But  our  past 
ways  were  evil  when  we  were  all  at  war  against  each  other.  I mean 
you  have  no  trouble  nowadays.  I was  three  times  pursued  by  north- 
ern Indians  at  the  time  when  we  were  still  naked.”  Then  I asked 
He'x-hak-En,  “Where  did  this  happen?”  And  he  said,  “At  Ga'wide. 
We  were  m two  canoes  harpooning  porpoises.  I was  in  the  one,  my 
friend,  XEmoXtsaXqoTag-ilis,  was  in  the  other  one.  I had  killed  two 
porpoises.  When  it  got  day,  I saw  four  canoes,  and  I told  my  friend. 
He  said  to  me:  4 1 will  go  to  the  island  Ga/wide’;  and  I said,  4 1 will 
go  to  O'gwamalis.  Take  good  care  of  yourself.  Good  bye.’  Then  I 
paddled  away.  My  canoe  was  flying  like  a bird.  Two  of  the  canoes 
pursued  me,  but  they  could  not  overtake  me.  Then  I looked  back  and 
I saw  that  they  could  not  catch  up  with  my  friend,  who  had  nearly 
arrived  at  Ga/wide.  Then  I watched  them  and  I saw  how  the  warriors 
were  looking  for  my  friend.  It  grew  night  and  I felt  badly,  fori  saw 
that  the  warriors  had  a fire  on  the  beach.  I asked  my  steersman : 
4 What  do  you  think?  Shall  we  look  after  my  friend  and  see  if  they 
have  enslaved  him?’  He  agreed,  and  we  paddled  to  the  island.  When 
we  arrived  there,  I took  my  gun  and  wrent  ashore.  I went  to  where  the 
fire  was  burning  on  the  beach  and  saw  that  the  warriors  had  unloaded 
their  canoes.  I said  to  my  companion:  4 Take  care,  my  dear,  I am 
going  to  shoot  them.’  We  hauled  up  our  canoe  and  hid.  As  soon  as 
we  reached  there,  we  sat  down  close  to  them.  They  were  eating. 
There  were  five  men  in  line  from  my  seat  and  my  friend  said  that  there 
were  three  in  line  from  his  seat.  We  put  thirty  balls  of  buckshot 
each  in  our  guns  and  fired  both  at  the  same  time.  I had  killed  three 
and  wounded  the  two  others.  My  friend  had  killed  two  and  wounded 
the  third  man.  And  I saw  two  more  men  running  away.  Then  we 
ran  to  the  wounded  ones  and  killed  them.  One  man  and  four  women 
we  took  alive  and  made  them  our  slaves.  We  took  the  property  of  the 
northern  people.  I looked  into  a large  box,  and  when  I opened  it  I saw 
much  red  cedar  bark  and  abalone  shells  which  were  attached  to  it,  and 
whistles  of  a ha/mats’a.  I asked  one  of  the  women:  4 What  is  that  in 
this  box?’  She  only  replied:  4 Horn,  liom,  horn,  horn,  horn,  liam,  ham, 
ham,  hu,  hu,’  and  she  bit  her  own  arm.  Then  I knew  that  one  of  these 
men  whom  we  shot  had  been  a ha/mats’a.  I cried  hap  right  away. 
There  were  also  two  coppers  in  the  bottom  of  that  box.  Then  we  came 
here  to  Alert  Bay  in  the  canoe  of  the  dead  men.  Here  we  were  met  by 
our  tribe,  the  Ximkish.  We  were  invited  at  once  by  Chief  Koaxdla- 
no'kume,  together  with  our  slaves.  He  gave  us  dried  halibut  to  eat. 
As  soon  as  we  had  eaten,  the  chief  spoke  and  said:  4 My  dear,  tell  us 
where  did  you  get  these  women?’  Then  1 spoke  to  him  and  told  what 


426 


REPORT  OF  NATIONAL  MUSEUM,  1895, 


had  happened.  But  first  I asked:  4 Has  my  friend  XEmoXtsaXqo'- 
lag-ilis  come  yet?  He  was  pursued  by  these  northern  people  and  some 
others  whom  I killed,  toward  Ga'wide.  Then  I saw  these  people  land- 
ing and  thought  they  might  have  caught  my  friend.  We  went  to 
Lasig-alis  and  watched  them.  We  saw  them  making  a fire  on  the 
beach.  As  soon  as  it  was  night  I went  to  Ga/wide,  because  I was 
troubled  on  account  of  my  friend  who  was  on  the  island.  Then  we 
paddled  to  the  east  side  of  Ga/wide,  for  the  northern  people  were  stay- 
ing on  the  north  side.  I went  ashore  and  secretly  went  up  to  where 
they  were  staying.  They  were  just  getting  ready  to  eat.  Then  I went 
back  to  my  canoe  and  told  my  companion  that  they  were  just  getting 
ready  to  eat.  I said : 4 What  do  you  think?  Let  us  kill  them.  Let  us 
have  our  own  way  with  them  and  shoot  them  from  a distance.  Ido 
not  see  any  danger  in  it.’  He  agreed.  Then  we  shot  many  of  them. 
I have  done  well.’  Thus  I spoke  to  the  Ximkish.  And  I said:  ‘Xow, 
there  is  some  more  red  cedar  bark  for  us;  this  box  is  full  of  various 
kinds.’  I took  up  the  coppers  and  said : 4 1 obtained  these  two  coppers. 
The  name  of  the  one  shall  be  Kue'xanEm  (obtained  by  killing),  and  that 
of  the  other  Xa/lgEmala  (day  on  its  face).’  Then  L’umx-ilagdlis  arose 
and  spoke:  ‘Thank  you,  cousin ! Xow  you  obtained  by  killing  this  red 
cedar  bark  and  what  is  in  this  box.  Xow  take  care,  Chief ! You  must 
show  it  in  the  coming  winter  ceremonial.  Xow  you  know  what  we 
have  done.  You  may  tell  it  when  a person  asks  where  we  obtained 
these  dances.  Xow  let  all  the  profane  go  out  of  the  house  that  you 
may  see  the  red  cedar  bark,  else  you  might  say  that  I invented  it. 
Xow  you  shall  know  it,  chiefs  of  the  Ximkish,  and  you,  young  men  of 
the  Ximkish.’ 

“Then  La/gesawa  spoke:  ‘Truly  now  I believe  that  our  chief  has 

done  well.  Xow  you,  young  men,  go  out  of  the  house ! Only  our  chiefs 
shall  stay  here.’  Then  all  the  men  went  out  and  only  six  chiefs  stayed 
in  the  house.  Then  we  bolted  the  door  of  my  house  and  I opened  the 
box.  I put  around  my  neck  the  ring  of  red  cedar  bark  and  I put  the 
headring  on  my  head.  Then  I took  the  whistles  and  showed  them  to  all 
the  chiefs  and  I cried  ‘ hap  ’ as  the  ha'mats’a  cries  now-a-days.  I spoke : 
‘Xow  look  at  me,  Ximkish  chiefs.  This  cedar  bark  ornament  I obtained 
by  killing  its  owner.  Therefore  yon  must  not  say  anything  against 
me.  Examine  it  closely,  else  you  will  say  later  on  when  I give  my 
winter  dance  that  I invented  it.’  Then  L’a/qoLas  said:  ‘Chief,  what 
can  we  say  against  you  since  you  killed  these  men  ? You  have  obtained 
this  ornament  from  the  man  whom  you  have  killed,  therefore  it  is  called 
obtained  by  killing.  It  is  the  same  as  though  you  had  obtained  your 
lia/mats’ a through  marriage.  Xow  go  on  and  give  a winter  dance. 
Why  should  we  not  do  it  in  the  right  way?’  Then  my  brother’s  son 
disappeared  right  away,  and  when  he  came  back  in  winter  he  was  my 
haTnats’a.  That  is  what  I did  in  the  past.  Xow  you  know  it.” 

It  is  stated  by  the  testimony  of  all  the  older  Indians  that  the  whole 


THE  KWAKIUTL  INDIANS. 


427 


ha/mats’a  ceremonial  was  obtained  in  this  manner  by  killing  a great 
number  of  He'iltsuq.  The  war  in  which  this  happened  is  one  of  the 
most  famous  ones  in  the  history  of  these  tribes.  I give  here  a version 
obtained  by  Mr.  Hunt. 

The  Bi'lxula  made  war  upon  the  Qoe'xsot’endx.  It  was  autumn. 
They  landed  above  the  village  Qoa/yastEm  and  hauled  their  canoes 
ashore.  Late  in  the  evening  they  sent  spies  out  to  examine  the  village. 
About  midnight,  when  all  the  Qoe'xsot’enox  were  asleep,  the  BiTxula 
launched  their  canoes  and  divided.  One-half  went  to  the  east  end  of  the 
village,  and  one-half  to  the  west  end.  They  stayed  in  their  canoes  not 
far  from  the  beach  until  it  was  almost  daylight.  It  was  foggy.  As 
soon  as  it  grew  daylight  they  landed  and  many  men  went  to  the  rear 
of  the  houses.  As  soon  as  they  were  ready  the  most  courageous  war- 
riors broke  into  the  doors  of  the  houses  and  speared  men,  women,  and 
children.  Whoever  tried  to  escape  through  the  rear  door  was  speared 
by  the  men  stationed  there.  Others  of  the  Bi'lxula  looked  after  the 
valuable  property  and  put  it  into  their  canoes.  Now  the  Qoe'xsot’enox 
were  all  killed.  Only  seven  men  and  five  women  were  left.  Then  the 
Bi'lxula  set  fire  to  the  houses.  Their  canoes  were  deeply  loaded  with 
men’s  heads.  They  went  home.  At  that  time  people  of  different  tribes 
had  stayed  at  Qoa/yastEm;  Ma'maleleqala,  Lau'itsis,  Nimkish,  and 
Na'qoaqtdq,  all  guests  of  the  Qoe'xsot’enox.  They  were  all  slain  by 
the  Bi'lxula  and  also  some  who  belonged  to  the  Kwakiutl.  Then 
four  men  came  and  told  what  had  happened  to  NEqa'p’Enk-Em,  chief  ot 
the  Kwakiutl,  who  was  Qoe'xsot’endx  by  his  father’s  side.  Then  he 
called  the  Kwakiutl  and  asked  them  to  go  to  war  against  the  Bi'lxula. 
Then  four  men  were  sent  to  ask  the  Ma'maleleqala,  Nimkish,  and  Lau'- 
itsis  to  go  to  war  also.  And  they  also  asked  the  La/Lasiqoala  and  the 
Na'qoaqtdq.  Four  very  strong  men  were  selected,  and  after  six  days 
they  came  back  again.  When  they  came  back  to  Tsaxis,  NEqa'p’- 
Enk-Em invited  them  and  when  they  were  seated  in  his  house,  he  called 
all  the  Kwakiutl  to  hear  the  reports  of  the  messengers.  When  the 
people  had  come,  he  asked  them  to  be  silent  and  to  listen  to  the  words 
of  the  messengers.  One  of  them  said:  u In  four  days  they  will  all  be 
ready  to  come,  men  and  women.  All  decided  to  go  to  war  against  the 
Bi'lxula.”  Then  Ya'xLEn  said:  u Now  go,  Kwakiutl!  Prepare  to  go, 
that  we  may  not  stay  another  night  when  they  come.  And  let  our 
wives  wash  for  four  days  that  we  may  have  good  luck.  After  they  had 
eaten,  the  men  who  were  going  to  war  took  seaweed  and  blew  into  it 
until  it  nearly  burst.  Then  they  made  neck  rings  out  of  it.  When  they 
had  done  so,  NEqa'p’Enk-Em  invited  all  the  men  and  women  to  his  house. 
He  told  them  what  to  do,  for  he  knew  all  the  customs  of  ancient  times. 
He  spoke:  u Thank  you,  Kwakiutl,  thank  you  and  your  beloved  wives. 
Now  Kwakiutl,  we  will  soar  up  and  catch  in  our  talons  the  Bi'lxula.  We 
will  be  the  great  thunderbird.  We  will  revenge  our  fathers,  our 
mothers,  our  uncles,  our  aunts,  our  sisters,  and  our  younger  brothers, 


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REPORT  OF  NATIONAL  MUSEUM,  1895. 


and  also  the  chiefs,  our  grandfathers,  Ya'qaLanlists’e  and  LEk*amaxdt 
Therefore,  I call  you  to  make  war  upon  the  Bi'lxula,  for  they  have  our 
names  and  our  red  cedar  bark.  Now,  take  great  care,  else  we  shall  not 
get  back  our  dancing  masks.  Now  we  will  go  and  take  back  the  names 
of  our  dancing  masks.  For  these  we  will  fight  against  the  BUlxula. 
Now  go  to  morrow  morning  and  rub  your  bodies  with  hemlock  branches. 
You  men  go  altogether  to  one  place.  And  you  women  go  to  another 
place  and  rub  yourselves  also  with  hemlock  branches,  for  we  shall  meet 
later  on  as  though  we  were  fighting.  Do  not  laugh,  you  women,  but 
carry  your  kelp  in  which  the  breath  of  your  husbands  is  enclosed. 
Throw  it  at  your  husbands,  and  when  we  finish,  go  into  the  water. 
When  a kelp  tube  bursts,  its  owner  must  not  accompany  us,  for  he 
would  never  return.” 

Then  YeqaLalasame  arose  and  spoke:  “My  tribe,  I am  glad  on 
account  of  your  speech.  I heard  it  said  that  we  are  going  to  war. 
What  tribe  are  we  going  to  make  war  upon  ?”  He  pretended  not  to 
know.  Then  Ya/xLEn  replied : “ Chief,  we  are  going  to  make  war  upon 
the  Bi'lxula.”  Then  the  great  warrior  uttered  the  ha/mats’a  cry  aiid 
said:  “ That  was  my  desire,  for  that  is  the  only  tribe  in  whose  blood  I 
did  not  dip  my  hands.  Thank  you,  Kwakiutl,  but  take  care!  You 
must  arise  in  the  morning  before  the  crow  cries.  Do  not  wear  blankets, 
but  you  women  wear  the  kelp  rings.  That  is  all  I want  to  tell  you.” 
Then  the  men  left  the  house  and  went  to  sleep.  On  the  next  morning 
the  great  warrior  YeqaLalasame  himself  awakened  them  before  the 
crows  were  stirring.  Then  all  the  men  and  women  arose.  Only  those 
who  were  menstruating  were  not  allowed  to  go.  First  the  men  went  to 
get  hemlock  branches,  then  the  women  did  the  same.  Then  they  all 
went  into  the  sea  and  sat  down  crying,  “hu,  hu,  liu  ” They  rubbed  their 
bodies  with  hemlock  branches.  When  they  came  out  of  the  water,  their 
bodies  were  all  red.  They  wiped  themselves  and  then  men  and  women 
met.  Now  the  ha/mats’a,  bear  dancers  and  nu/LmaL,  and  all  the  other 
dancers,  became  excited.  The  women  did  the  same,  and  then  men  and 
women  pretended  to  fight.  The  women  threw  the  kelp  rings  at  their 
husbands,  who  tried  to  catch  them.  When  a man  missed  his  kelp  ring 
or  when  it  burst,  he  was  not  allowed  to  go  on  the  war  expedition.  For 
four  days  the  men  and  women  continued  to  do  this.  When  they  had 
finished,  they  prepared  their  weapons.  After  five  days  the  Ma'malele- 
qala  arrived  in  four  canoes,  the  Nimkish  in  six  canoes,  the  Lau'itsis  in 
two  canoes,  the  Ts’a/watEenox  in  eight  canoes.  Then  NEqa/p’Enk'Em 
invited  all  the  tribes.  When  they  were  in  his  house,  he  gave  them 
dried  salmon  and  afterwards  clover  root.  Before  they  finished  this 
course  Neqa/p’Enk-Em  arose  and  said:  “Fathers,  uncles,  brothers, 
children,  thank  you  that  you  have  come.  Now  let  us  go  and  look  for  our 
exterminated  tribe,  the  Qoe'xsot’enox,  who  were  eaten  by  the  Bi'lxula. 
Let  us  make  them  vomit  our  tribe.”  And  all  repeated  his  words  and 
said:  “You  have  said  it.  We  will  doit.”  But  NEqa/p’Enk'Em  did  not 


THE  KWAKIUTL  INDIANS. 


429 


stop  speaking.  He  continued:  “ Therefore  I called  you  to  make  war 
upon  the  Bi'lxula.  My  tribe,  the  Kwakiutl,  have  eight  canoes ; the 
Q’o'moyue  have  four  canoes;  the  Walas  Kwakiutl  have  two  canoes; 
the  Q’o'mkmtis  two  canoes.  We  have  sixteen  canoes.  Xobody  whom 
we  meet  hereafter  shall  live.  That  is  all.”  Then  Ma'Xua,  chief  of  the 
Ma'maleleqala  arose  and  spoke:  “You  are  good,  you  are  great,  Kwa- 
kiutl. What  is  it  you  are  saying?  Do  you  say  we  intend  to  go  to 
war?”  NEqa/p’Enk'Em  replied:  “Yes;  we  will  go  to  war.”  Then 
Ma/Xua  said:  “Thank  you,  friend.  Thank  you,  Kwakiutl.  Look  at 
the  tears  on  my  face  which  I wept  for  the  Qoe'xsoFenox,  for  our  lost 
names.  Xow  take  care,  warriors  of  the  Ma/maleleqala,  and  you  Xim- 
kish,  LauTtsis,  Maa/mtag*ila,  and  Ts’a/watEenox,  else  we  shall  not  get 
any  heads.  Let  us  start  early  in  the  morning.  And  I will  be  your 
guide,  for  my  ancestor  was  the  killer  whale.  Therefore  I am  not  afraid 
of  anything,  neither  of  war  nor  of  distributing  property.”  Then  they 
left  the  house. 

Early  the  following  morning  they  started.  When  all  the  tribes  had 
come  to  the  island  opposite  Gua'ts’e,  XEqa'p’Enk*Em  and  Ye'qaLala- 
same  arose  aud  the  former  spoke,  “Friends,  now  our  season  will  change 
from  b a/xus  to  ts’e'ts’aeqa  as  soon  as  we  cut  off  the  head  of  a man. 
Then  our  ha/mats’a,  bears  and  nuLmaL,  the  hawfinalaL,  and  all  the 
other  winter  dancers,  will  become  excited.  Xow  let  spies  go  ahead  in 
four  canoes.  Xow"  we  are  no  longer  men,  we  are  killer  whales.  When 
you  see  a canoe,  fire  a gun  that  we  may  know  it.  Then  take  hold 
of  the  canoe,  but  do  not  hurt  them  until  we  come.”  XEqa/p’Enk-Em 
finished  speaking  and  sat  down.  Then  one  canoe  of  the  Kwakiutl,  one 
of  the  Ma'maleleqala,  one  of  the  Ximkish,  and  one  of  the  Lau/itsis  went 
ahead.  They  steered  to  G-i'lsg’iltEin.  When  they  had  passed  the 
island,  the  other  war  canoes  followed.  At  night  they  stopped  at 
Xux'saqolL.  Early  the  next  morning  YeqaLalasame  sneezed.  Then 
he  awakened  all  the  men  and  said,  “ Slaves!  I sneezed  with  my  right 
nostril.  To-day  we  shall  stain  our  hands  in  blood.”  Then  the  four 
spies  started  again.  They  did  not  see  canoe  nor  smoke  and  all  the 
warriors  became  sorry.  Xow  they  arrived  at  the  mouth  of  Rivers  Inlet. 
Then  MaXua,  chief  of  the  Ma'maleleqala  spoke,  “ Listen  to  me,  friends. 
My  heart  feels  badly,  because  we  have  not  yet  seen  anyone  whom  we 
might  slay.  Let  us  play  with  the  Awfik-’enox,  the  tribe  of  this  place, 
to  gladden  my  heart.”  The  warriors  did  not  want  to  do  it,  and  while 
they  were  still  talking  the  report  of  two  guns  was  heard.  “Xow, 
slaves,  paddle.  Those  were  our  spies.”  Then  all  the  men  paddled  on. 
The  Kwakiutl  came  to  a place  where  six  canoes  of  Hefiltsuq  were  lying 
and  the  four  canoes  of  their  spies.  The  Ximkish  were  the  next  to 
arrive.  Then  came  the  Lau'itsis,  and  far  behind  the  others  the  Ma'ma- 
leleqala.  The  He'iltsuq  were  telling  about  their  voyage  and  also  that 
the  Bi'lxula  had  barricaded  their  houses.  Then  Ye/qaLalasame  said, 
“ Friends,  ask  the  He/iltsuq  who  is  their  chief.”  Then  Kalam  asked 


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REPORT  OF  NATIONAL  MUSEUM,  1895. 


for  the  chief  of  the  He'iltsuq.  One  man  by  the  name  of  Yeimats’alis 
replied,  “All  these  men  are  chiefs  of  the  O'yala  itx.  That  is  the  custom 
of  the  He'iltsuq  when  they  distribute  blankets,  all  their  chiefs  go 
inviting.  Now  I will  give  you  the  names : This  is  0/mx*ht,  this  W a'k-as, 
this  Ha'mts’it,  this  GoxsEmna'kula,  this  La/qoag-ila,  Wa'waxamis, 
Do'koaya-isala,  Ha”masilaku,  Ya'kai/Enala,  Hana/yus,  Quin  a,  GueT- 
toku,  Ga/ide,  La/Lilila,  and  Kala'guyuwis;  they  are  all  chiefs.”  Then 
La/LaLanam  spoke ; “ How  do  you  feel  now  ? You  said  before  you  would 
not  have  mercy  even  on  your  relatives.  Now  here  are  all  the  chiefs 
of  the  He'iltsuq.”  Then  O'mx-’it  untied  the  cover  of  his  box  and  took 
out  his  whistles.  He  gave  them  to  his  son  Wa'k-as,  and  Omx-ht  him- 
self took  the  Lao'laxa1  horn  and  blew  it  four  times,  and  Wa/k-as  blew 
the  ha/mats’a  whistles.  Then  Ya/xLEn  arose  and  said,  “ Don’t  let  the 
voice  of  the  ts’etsaeqa  sound  too  loud.  You  heard  it.  We  cannot 
hurt  the  red  cedar  bark  that  sounded  before  all  of  you.  Let  us  meet 
them  with  our  ts’e'tsaeqa  at  the  dancing  season.  We  will  rival  with 
the  dances  of  our  brother  O'ts’e’stalis,  OTnx-’it,  Wa/k-as,  and  Quina. 
We  cannot  kill  the  He'iltsuq.  Let  us  go  to  war  against  the  Bi'lxula.” 
He  was  just  speaking  so  when  the  Ma'maleleqala  came  in  sight  around 
the  point  of  the  bay.  They  saw  the  canoes  drifting,  and  MaXua  arose 
at  once  and  said:  “ Why  do  you  let  your  canoes  drift  about?”  And 
Ya'yaqadalaL  took  up  his  lance  and  killed  the  steersman  of  one  of  the 
He'iltsuq  canoes.  As  soon  as  he  had  done  so  he  cried,  “hup,  hup,  hup.” 
Then  all  the  tribes  attacked  the  He'iltsuq.  Only  Omx-’it  was  not  killed. 
As  soon  as  the  ha'mats’a  killed  a man  he  cried,  “hap,  hap,  liap,”  the 
bear  growled,  and  every  dancer  became  excited  as  soon  as  he  killed  a 
man.  When  all  the  He'iltsuq  were  dead,  they  took  their  freight  and 
divided  it.  But  the  red  cedar  bark  and  the  whistles  of  the  ha/mats’a 
and  of  the  Lao'laxa  were  given  to  the  war  chiefs.  All  the  chiefs  of  the 
He'iltsuq  were  ha/mats’a.  Now,  O'mx-’it  was  a slave  of  Ma'Xua,  the 
chief  of  the  Ma'maleleqala.  Then  NEqa/jf  Enk-Em  said : “ Friends,  what 
do  you  think?  Shall  we  go  on  to  the  Bi'lxula?  Think  of  it,  friends! 
We  have  done  a great  thing.  The  chiefs  0'ts?e’stalis,  Ba'salaL, 
Wlxwaqoqamaya,  and  Wa^ats’uLa  have  not  come  here.  They  are 
near  relations  of  those  whom  we  killed.  Are  you  not  afraid  of  them? 
Then  there  are  all  the  sons  of  OTs’e/stalis.  I think  we  ought  to  go 
home.”  Then  they  all  returned.  They  had  obtained  all  the  names  and 
all  the  dances  of  the  dead  chiefs  of  the  He'iltsuq.  Since  that  time  the 
tribes  have  the  cedar  bark  ornaments  of  the  Hedltsuq  and  their  names. 
They  obtained  them  by  spilling  the  blood  of  these  men  in  Avar.2 

I have  given  these  reports  in  some  detail,  as  aside  of  the  light  they 
throw  upon  the  acquisition  of  names  and  dances  by  war,  they  show 

]See  p.  621. 

rSee  a BlTxula  version  of  these  wars  in  the  Seventh  Report  of  the  Committee  on 
the  Northwestern  Tribes  of  Canada,  British  Association  for  the  Advancement  of 
Science.  1891,  p.  16. 


THE  KWAKIUTL  INDIANS. 


431 


also  that  the  societies  are  recognized  on  war  expeditions.  1 shall 
revert  to  this  subject  later  on. 

Notwithstanding  the  fact  that  each  and  every  dance  must  be  obtained 
by  means  of  a marriage  or  by  killing  its  owner,  there  are  a number  of 
offices  connected  with  the  ceremonials  of  the  societies  which  are  strictly 
hereditary  in  the  male  line  and  remain,  therefore,  always  in  the  same 
clan.  To  this  class  belongs  the  office  of  the  master  of  ceremonies,  the 
officer  who  has  charge  of  the  drum,  of  the  batons,  of  the  eagle  down, 
and  others  which  will  be  set  forth  in  the  description  of  the  ceremonial 
(Chapter  IX).  This  is  another  argument  in  favor  of  the  theory  expressed 
above  that  the  institutions  of  the  Kwakiutl  were  at  one  time  paternal, 
but  were  later  on  modified  by  the  influence  of  the  northern  tribes,  who 
are  on  a maternal  stage. 

VIII.  The  Dances  and  Songs  of  the  Winter  Ceremonial. 

The  object  of  the  whole  winter  ceremonial  is,  first,  to  bring  back  the 
youth  who  is  supposed  to  stay  with  the  supernatural  being  who  is 
the  protector  of  his  society,  and  then,  when  he  has  returned  in  a state 


of  ecstasy,  to  exorcise  the  spirit  which  possesses  him  and  to  restore 
him  from  his  holy  madness. 

These  objects  are  attained  by  songs  and  by  dances.  In  order  to 
bring  the  youth  back,  members  of  all  the  secret  societies  perform  their 
dances.  It  is  believed  that  they  will  attract  the  attention  of  the  absent 
novice,  until  finally  one  of  the  dances  may  excite  him  to  such  a degree 
that  he  will  approach  flying  through  the  air.  As  soon  as  he  appears 
his  friends  endeavor  to  capture  him.  Then  begins  the  second  part  of 
the  ceremony,  the  exorcising  of  the  spirit 5 or.  as  the  Kwakiutl  call  it, 
the  taming  of  the  novice.  This  is  accomplished  by  means  of  songs 
sung  in  his  honor,  by  dances  performed  by  women  in  his  honor,  and  by 
the  endeavors  of  the  shaman.  After  the  novice  has  thus  been  restored 
to  his  senses,  he  must  undergo  a ceremonial  purification  before  he  is 
allowed  to  take  part  in  the  ordinary  pursuits  of  life.  The  strictness 
and  severity  of  this  purification  depend  upon  the  character  of  the 
dance.  Novices  must  drink  water  through  the  wing  bone  of  an  eagle, 
as  their  mouths  must  not  touch  the  brim  of  the  cup  5 they  must  suck 


Figs.  42  and  43. 

BATONS  USED  BY  ASSISTANTS  OF  SINGING  MASTER. 

IV  A,  Nos.  515  ami  577,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 


432 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


uo  more  and  no  less  tlian  four  times.  They  must  not  blow  hot  food, 
else  they  would  lose  their  teeth. 

The  songs  mostly  consist  of  four  verses.  Each  novice,  viz,  member 
of  a society,  has  his  own  songs.  They  open  with  a burden  which 
varies  according  to  the  society  to  which  they  belong.  This  burden  is 


Fig.  44. 


BATON  OP  SINGING  MASTER. 

Handle  representing  an  eagle. 

IV  A,  No.  1951,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 

sung  in  order  to  indicate  the  tune.  Then  follow  the  words,  which, 
however,  are  interspersed  with  repetitions  of  the  burden.  The  words 
are  called  “the  walk  of  the  song”  (or,  as  we  should  say,  the  words  go 
this  way).  Each  song  is  accompanied  by  beating  of  time  with  batons, 
and  by  a drum.  The  beating  is  sometimes  so  loud  that  it  almost 


Fig.  45. 


BATON  REPRESENTING  A SEA  LION. 

Side  view,  end  view,  and  view  from  below. 

IV  A,  No.  573,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 

drowns  the  song.  The  rhythm  of  the  tune,  as  well  as  of  the  beating, 
is  exceedingly  complex;  but  the  most  striking  characteristic  is  the  fact 
that  the  beating  is  always  syncopated.  The  arm  is  raised  when  the 
tone  is  uttered  and  falls  quickly  afterwards.  In  all  songs  of  the  win- 
ter ceremonial  the  beating  begins  several  bars  before  the  singing.  It 


Fig.  46. 


BATON  REPRESENTING  A SEA  LION. 

End  and  side  views. 

IV  A,  No.  1944,  Royal  Ethnographical  Museum.  Collected  by  A.  Jacobsen. 

is  the  reverse  in  profane  songs.  The  beating  is  an  intrinsic  part  of 
the  songs  and  can  not  be  separated  from  it. 

The  dances  of  the  various  societies  differ  in  character,  and  will  be 
described  in  the  course  of  this  chapter.  They  have  all  this  in  common, 
that  the  dancer  on  entering  the  door  turns  once  to  the  left  at  a place 


THE  KWAICIUTL  INDIANS. 


433 


between  the  door  and  the  fire.  Then  he  dances  toward  the  right,  leav- 
iug  the  fire  at  his  left.  In  the  rear  of  the  fire  he  turns  again  to  the 
left,  and  after  having  made  a complete  turn  continues  his  course. 
Every  time  he  reaches  the  front  or  the  rear  of  the  fire,  he  makes  a turn 
and  then  continues  his  way  in  the  same  direction.  Each  dance  con- 
sists of  four  circuits  around  the  fire.  The  motions  of  the  feet  follow 
the  rhythm  of  the  beating,  not  of  the  song. 

When  a mistake  is  made  in  these  songs  or  dances  which  are  intended 


Side  view  and  view  from  below. 

IV  A,  No.  1947,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 

to  pacify  the  novice,  the  effect  is  not  only  a renewed  ecstasy  of  the 
novice,  but  it  also  excites  all  the  older  members  of  the  various  societies 
and  thus  produces  a general  ecstasy. 

Errors  in  rhythm,  turning  the  wrong  way  in  a dance,  smiling,  and 
chewing  gum  are  counted  as  mistakes.  The  error  must  be  atoned  for  by 
an  initiation  of  the  person  who  made  the  mistake.  When  the  members 
of  the  seal  society  observe  a mistake,  they  jump  from  their  seats  and  bite 
and  scratch  the  person  who  made  the  mistake.  He  drops  down  at  once 


Fig.  48. 

BATON  REPRESENTING  A SEA  LION. 

Side  view,  end  view,  and  view  from  below. 

_ IV  A,  No.  1948,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 

and  pretends  to  faint,  and  while  the  excited  dancers  surround  him  he 
disappears.  This  means  that  a spirit  has  taken  him  away  in  order  to 
initiate  him.  The  members  of  the  seal  society  sit  on  the  platform  of 
the  house  or  stand  during  the  dances,  that  they  may  be  certain  to  dis 
cover  mistakes.  The  seal  society  attack  and  maltreat  throughout  the 
ceremonial  the  que'qutsa.  At  the  close  of  the  winter  ceremonial  they 
must  pay  an  indemnity  for  all  the  damage  that  they  may  have  done. 

No  greater  misfortune,  however,  can  happen  than  for  one  of  the 
NAT  mus  95 28 


434 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


dancers  wlio  performs  his  ceremonial  dance  to  fall.  In  the  course  of 
the  winter  ceremonial  quite  a hole  gradually  develops  at  the  two  places 
where  the  dancers  turn,  and  it  is  here  that  they  are  most  likely  to 
stumble  and  fall. 

When  a lia/mats’a  falls  in  his  dance,  he 
must  lie  down  as  though  he  was  dead. 
Then  the  master  of  ceremonies  calls  a man 
whose  name  is  E'kdstolis  (sand  in  eyes, 
i.  e.,  a drowned  person),  whose  office  is 
hereditary.  He  is  a que'qutsa,  and  as  an 
officer  he  is  called  tsVts’exsilaenox  (doing 
secretly).  He  carries  a large  staff 
(k-’e'lag-aiu),  which  is  split  like  a 
pair  of  tongs,  and  in  the  interior 
of  which  some  blood  is  hidden. 

With  this  staff  he  takes  hold  of 
the  neck  of  the  lia/mats’a  and  ap- 
parently blood  is  seen  to  flow  from 
it.  Then  all  the  heTig*a  (see  p. 

438)  lift  the  ha/mats’a,  put  him  on 
their  mat,  and  carry  him 
four  times  around  the 
fire.  After  they  have 
gone  around  the  fire 
four  times  his  whistle 
is  heard  in  the  woods. 

When  the  mat  is  put 
down,  it  is  seen  that  he 
has  disappeared  and 
that  only  his  blankets 
and  ornaments  are  left 
behind. 

He  stays  away  for  four  days  and  his  father  must 
make  a new  festival  for  him.  When  the  ha/mats’a 
falls,  everybody  puts  his  hand  over  his  eyes  and 
drops  his  head,  crying  ha.1  As  the  expense  of  such 
a festival  is  very  great,  the  amount  equaling  the 
return  of  the  marriage  money,  but  few  persons  are 
able  to  afford  a second  initiation.  While  nowadays 
every  effort  is  made  to  enable  the  ha'mats’a’s  father 
to  give  the  new  festival,  it  is  said  that  in  former  times  the  unfortu- 
nate one  was  killed  by  the  other  ha/mats’a,  the  bear  dancers,  and  the 
nu'LmaL,  often  at  the  instance  of  his  own  father. 

When  a ha/mats’a  falls  in  his  dance,  it  is  considered  an  evil  omen, 
indicating  that  he  will  die  at  an  early  date. 


Fig.  49. 

BATON  REPRESENTING  A SEA  LION  OR 
KILLER  WHALE. 

IY  A,  No.  6898,  Royal  Ethnographical  Museum, 
Berlin.  Collected  by  F.  Boas. 


BATON  REPRESENTING  A 
SEA  LION,  A BEAR,  AND 
A KILLER  WHALE. 

IV  A,  No.  1949,  Royal  Ethno- 
graphical Museum,  Berlin 
lected  by  A.  Jacobsen. 


Col- 


1 Witli  sinking’  tone. 


THE  KWAKIUTL  INDIANS. 


435 


The  view  taken  by  the  Kwakiutl  is  evidently  that  the  falling  of  a 
ha/mats’a  or  of  another  dancer  is  an  indication  of  either  ill  will  on  the 
part  of  the  spirit,  or  as  a defeat  of  their  spirit  by  that  of  another  tribe. 
Thus  I was  told  that  at  one  time  the  Kwakiutl  had  invited  the 
Ma'maleleqala  for  a Avinter  ceremonial.  When 
11,  their  own  nffLmaL 
i was  rescued  with  dif- 
ficulty by  the  que'- 
qutsa.  The  song  which 
was  used  during  his 
dance  was  never  used 
again.  They  believed 
that  the  event  was 
proof  that  the  spirit 
presiding  over  the 
winter  ceremonial  of 
the  Ma/maleleqala 
was  stronger  than 
their  own. 

When  one  of  the  dancers  of  an  inferior  society  falls,  he  disappears 
also  to  be  initiated,  but  his  father  does  not  need  to  go  to  the  expense 
of  a complete  festival,  as  these  initiations  are  much  less  expensive. 

The  paraphernalia  of  the  dances  consist  largely  of  ornaments  made 
of  cedar  bark,  which  is  dyed  in  the  juice  of 
alder  bark;  of  masks,  Avhistles,  and  carvings  of 
various  kinds.  All  of  these  must  not  be  seen 
by  the  profane.  If  any  of  these  happened  to  see 
them,  they  were  killed  without  mercy.  As  an  ex- 
ample of  this,  I was  told  the  following  incident: 

One  of  the  que'qutsa  Avas  preparing  a carving 
to  represent  the  si'siuL.  His  daughter  happened 
to  see  him  at  work.  Then  he  called  her  into  his 
room  and  dug  a hole  right  under  the  fireplace. 

He  asked  her  to  put  her  head  into  his  lap,  pre- 
tending that  he  wanted  to  louse  her.  Then  he 
killed  her  with  a hammer.  He  put  her  body 
into  the  hole,  covered  it,  and  replaced  the  ashes. 

His  wife  looked  for  the  girl,  but  he  did  not  tell 
her  of  what  he  had  done  until  the  following 
summer,  when  he  fell  sick.  Then  he  asked  his 
wife  to  bury  the  remains  of  their  daughter.  As 
a survival  of  this  custom,  the  saying  remains  which  is  used  by  the 
initiated  in  warning  away  the  profane:  “Go  away,  else  we  shall  bury 
you.’7 1 

By  far  the  greater  portion  of  the  winter  ceremonial  is  performed  in 


Fig.  52. 

RATTLE  OF  HE'LIG'A. 

Representation  of  the  head 
of  a dead  person,  out  of 
whose  mouth  a snake  is 
crawling.  Height,  8J 
inches. 

IV  A,  No.  1356,  Royal  Ethnographical 
Museum,  Berlin.  Collected  by  A. 
Jacobsen. 


iHa/g,a  qoe'tax  a'Land'x  tsame'soL. 


436 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


a house  set  apart  for  this  purpose.  It  is  called  lo'pEku  (emptied) 
because  it  is  emptied  of  everything  that  is  profane.  Only  when 
dances  are  performed,  are  the  uninitiated  or  the  profane  allowed  to 
enter  the  house.  They  must  stay  at  the  left-hand  side  of  the  entrance. 

Most  of  the  dances  are  performed  in  connection  with  feasts.  Others 
are  shown  in  connection  with  distributions  of  property.  As  during 
the  ceremonial  the  clans  are  suspended,  the  order  of  seats  which  pre- 
vails in  summer  is  also  suspended,  and  a new 
arrangement  takes  place.  The  seal  society 
have  the  seats  of  honor  in  the  rear  of  the 
house,  and  among  them  the  highest  ha/mats’a 
has  the  first  seat,  in  the  middle  of  the  rear 
of  the  house.  At  both  sides  of  the  ha'mats’a 
society  sit  the  bear  dancers  and  other  mem- 
bers of  the  seal  society.  At  the  extreme 
ends  of  this  society  sit  the  nii/LinaL,  the  mes- 
sengers of  the  ha/mats’a.  The  killer  whale 
and  rock  cod  societies  sit  in  front  of  the  seal 
society.  They  are  the  singers. 

The  he'mElk  and  the  whale  society  sit  next 
to  the  niVLmaL — the  former  to  the  left  of  the 
lia/mats’a,  the  others  to  his  right.  The  Kos- 
kimo  sit  next  to  them  near  the  front  corners 
of  the  house.  The  women  sit  all  along  the 
sides  of  the  house  in  the  rear  row,  the 
chicken  society  farthest  in  the  rear,  the  dam 
society  and  the  Ke'ki'xalak11  in  front.  The 
person  who  gives  the  feast  and  all  his  rela- 
tives are  in  the  u kettle  corner/7  the  right- 
hand  front  corner  of  the  house.  The  profane 
sit  on  the  left-hand  side  of  the  door.  When 
one  tribe  has  invited  another  one,  all  the 
members  of  the  invited  tribe  sit  in  the  front 

The  handle  represents  the  gaping  part  Of  the  sides  of  the  hOUSe.  The  Seal 
mouth  of  the  face  carved  on  the  socjety  of  the  hosts  sit  in  the  rear,  and  their 

front  of  the  rattle.  Height,  10  J 

inches;  hiack.  blue,  and  red.  singers  as  described  heretofore.  The  rest  of 

iv  a,  No.  521,  Royal  Ethnographical  Museum,  the  inviting  tribe  are  in  the  kettle  corner. 

Berlin.  Collected  by  A.  Jacobsen.  ~ . . . , . ,, 

Sometimes  at  such  occasions  all  the  mem- 
bers of  the  seal  society  and  of  the  corresponding  societies  of  the  other 
tribes  sit  in  the  rear  of  the  house.  Then  the  ha/inats7a  of  all  the  tribes 
sit  in  the  middle — first  those  of  the  Kwakiutl,  at  each  side  those  of  the 
Ma'maleleqala,  at  their  sides  those  of  the  Mmkish  and  Laufitsis.  The 
other  groups  arrange  themselves  in  the  same  manner,  the  Kwakiutl 
members  sitting  in  the  rear  row  nearest  the  rear  of  the  house;  then 
toward  the  door  follow  the  Mahnaleleqala,  continuing  in  the  next 
row  nearer  the  fire.  Then  follow  the  Kimkish  and  Lau'itsis, 


rig.  53. 

RATTLE  OF  HE'LIG'A  REPRESENTING 
A HUMAN  FACE. 

Front,  back,  and  top  views. 


THE  KWAKIUTL  INDIANS. 


437 


Fig.  54. 

RATTLE  OF  HE'LIG'A,  SET  WITH  RED  CEDAR  BARK, 
REPRESENTING  A CONVENTIONALIZED  FACE. 
Front  and  rear  views.  Height.  11§  inches. 

IV  A,  No.  1360,  Royal  Ethnographical  Museum,  Berlin.  Collected 
by  A.  Jacobsen. 


Tlie  singers  sit  so  arranged  that  the  rear  rows  are  facing  the  fire  while 
the  front  rows  face  backward.  In  their  midst  sits  the  song  leader 
(na/qate)  and  his  two  assistants  (gua/nuLEme=sitting  at  his  sides).  It 
is  the  duty  of  the  song  leader  to  make  new  songs,  to  compose  new  words 
to  old  tunes,  to  learn  quickly  the 
songs  of  the  returning  novice, 
and  to  teach  them  to  the  singers. 

He  also  gives  signals  for  changes 
in  rhythm  and  starts  the  tunes. 

His  office  is  hereditary  in  the 
male  line.  His  assistants  call  out 
the  words  for  each  verse.  The 
singers  are  so  seated  that  in  front 
of  the  board  which  serves  for  their 
back  support  they  can  spread 
their  mats,  and,  when  kneeling 
on  these,  have  in  easy  reach  long 
planks  on  which  they  beat  the 
rhythm  with  batons.  These  are 
generally  of  split  pine  wood  and 
are  made  at  the  time  of  opening 
the  feast.  They  are  about  1J  feet  long,  and  the  singers  before  using 
them  roughly  smooth  one  end,  which  is  used  as  a handle.  They  either 
beat  downward,  holding  the  baton  in  their  hands  stretched  forward, 
or  they  hold  it  like  a pestle  and  thump  the  plank  with  it.  In  former 
times  when  wood  was  not  easily  split  on  account  of  lack  of  steel  axes, 
they  kept  the  batons,  which  were  in  conse- 
quence also  more  nicely  finished.  Nowadays 
only  the  song  leader  and  his  assistants  have 
carved  or  painted  batons.  (Figs.  42-50.) 
The  ordinary  crude  batons  are  generally 
split  up  at  the  end  of  the  festival  and  used  as 
torches  for  lighting  the  way  home  through 
the  darkness  of  the  street.  It  is  a very  pretty 
sight  to  see  the  numerous  guests  going  home, 
each  carrying  his  torch  and  lighting  up  the 
logs  and  canoes  on  the  beach  on  the  one  side 
and  the  dark  row  of  houses  on  the  other. 

I will  now  proceed  to  describe  the  ceremo- 
nials of  various  societies. 

BaxbakualanuXsFwae,  as  stated  above, in- 
itiates several  dancers,  the  most  important  of 
which  is  the  ha/mats?a,  or  the  cannibal.  He 
is  possessed  of  the  violent  desire  of  eating  men.  The  novice  is  taken 
away  by  this  spirit  and  is  supposed  to  stay  at  his  house  for  a long  time. 
The  period  of  his  absence  extends  over  three  or  four  months,  during 
which  time  he  actually  stays  in  the  woods.  In  the  middle  of  this  time 


RATTLE  OF  HE'LIG'A,  SET  WITH 
CEDAR  BARK,  REPRESENTING  A 
CONVENTIONALIZED  FACE. 

Height,  10  inches;  black. 

IV  A,  No.  1400,  Royal  Ethnographical  Museum, 
Berlin.  1 Collected  by  A.  Jacobsen. 


438 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


he  reappears  near  the  village  and  his  sharp  whistle  and  his  cries,  “hap, 
hap,  hap”  (eating,  eating,  eating),  are  heard.  Then  he  comes  back  to 
fetch  his  k-UnqalaLala,  who  must  procure  food  for  him.  (See  p.  399.) 


Fig.  56. 

RATTLE  OF  HE'LIG*  A,  PROBABLY  OF  HAIDA  MANUFACTURE. 

The  front  represents  a sea  monster  with  a bear’s  head  and  a whale’s  body,  which  is  indicated  by  the 
fins  on  the  face;  the  hack  represents  a man.  Height,  9^  inches ; black  and  red. 

IV  A,  No.  864,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 

The  k-i'nqalaLala  is  always  one  of  his  female  relatives.  Finally  he 
returns  and  attacks  every  one  upon  whom  he  can  lay  his  hands.  He 


Fig.  57. 


RATTLE  OF  HE'LIG'A. 

Representations  of  two  faces  painted  with  the  design  of  the  killer  whale  and  surrounded  by  a ring 
representing  a cedar  hark  ring.  The  faces  may  each  represent  the  head  of  a member  of  the  killer 
whale  society.  Height,  inches ; red  on  brown  wood. 

IV  A,  No.  570,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 

bites  pieces  of  flesh  out  of  the  arms  and  chests  of  the  people.  As  soon 
as  he  arrives,  the  servants  of  the  ha'mats’a,  the  he'lig-a  (healers)  or 
sa/laLila,  of  whom  the  Kwakiutl  have  twelve  in  all,  run  up  to  him, 


THE  KWAKIUTL  INDIANS. 


439 


swinging  rattles,  tne  sound  of  which  is  supposed  to  pacify  the  na/mats’a. 
This  office  is  hereditary  in  the  male  line,  and  either  four  or  six  of  them 
must  accompany  the  ha/mats’a  whenever  he  is  in  an  ecstasy.  They  sur- 
round him  in  a close  circle  in  order  to  prevent  him  from  attacking  the 
people  and  utter  the  pacifying  cries  “hoi'p,  hoi'p.”  The  rattles  of  the 
helig*a  are  always  carved  with  a design  which  originally  represented  a 
skull.  Figures  51  and  52  show  this  design  clearly,  but  it  often  degen- 
erates into  the  representation  of  a conventional  face,  aud  in  some  cases 
it  has  simply  a rounded  shape,  and  an  animal  is  carved  on  its  face. 
(Figs.  53-59.)  I do  not  know  if  the  beautiful  rattles  which  are  used  by 
thehedig'a  of  the  Kwakiutl,  but  which  were  made  by  the  He'iltsuq  and 
represent  the  thunder  bird  on  a round  rattle  (fig.  60),  had  originally  a 
different  meaning.  In  olden  times,  when  the  lia'mats’a  was  in  a state  of 
ecstasy,  slaves  were  killed  for  him,  whom  he  devoured.  The  following 
facts  were  observed  by 
Mr.  Hunt  and  Mr.  Moffat 
in  the  early  days  of 
Fort  Eupert:  When  a 
ha/mats?a  had  returned 
from  the  woods,  a slave, 
a man  of  the  Nanaimo 
tribe,  named  Xu'ntEm, 
was  shot.  They  saw 
him  running  down  to 
the  beach,  where  he 
dropped.  Then  all  the 
mVLmaL  of  the  Kue'xa 
tribe  went  down  to  the 
beach  carrying  knives 
and  lances.  The  bear 
dancers  and  the  ha/- 
mats’as  followed  them. 

The  nu'LmaL  cut  the 
body  with  their  knives  and  lances  and  the  ha/mats?as  squatted  down 
dancing  and  crying  u hap,  hap.”  Then  the  bear  dancers  took  up  the 
flesh  and,  holding  it  like  bears  and  growling  at  the  same  time,  they 
gave  it  to  the  highest  lia/mats’a  first  and  then  to  the  others.1  In  mem- 
ory of  this  event  a face  representing  BaxbakualanuXskwae  was  carved 
in  the  rock  on  the  beach  at  the  place  where  the  slave  had  been  eaten. 
The  carving  is  done  in  sandstone,  which  was  battered  down  with  stone 


Fig. 58. 

RATTLE  OF  HE'LIG'A. 

Representation  of  a being  with  a human  head,  hands,  and  feet, 
and  a dorsal  tin.  The  feet  form  the  handle  of  the  rattle,  which 
is  set  with  cedar  bark.  Length,  11  inches;  black  and  blue. 

■ IV  A,  No.  1399,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 


^r.  George  Hunt,  who  told  me  this  story  as  reported  to  him  by  his  father,  who  had 
been  an  eyewitness,  added  the  following  remarks,  which  are  of  interest  as  elucidat- 
ing some  of  the  views  of  these  tribes.  The  slave's  wife  was  at  that  time  in  the  fort. 
She  went  out  on  the  gallery  and  called  out  to  the  ha/mats’a:  “I  will  give  you  five 
years  to  live.  The  spirit  of  your  winter  dance  ceremonial  is  strong,  but  mine  is 
stronger.  You  killed  my  husband  with  gun  and  bullet,  and  now  I will  kill  you  with 
the  point  of  my  tongue."  After  five  years  all  those  who  had  taken  part  in  the  murder 
were  dead. 


440 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


hammers  (Plate  23).  Near  this  rock  carving  there  are  a number  of 
others  and  much  older  ones  (Plates  24-26,  fig.  61).  The  Indians  have 

no  recollection  of  the  incidents 
which  they  are  to  commemorate. 
They  say  that  they  were  made 
at  the  time  before  animals  were 
transformed  into  men. 

I received  another  report  of  the 
killing  of  a slave.  A female  slave 
was  asked  to  dance  for  the  ha/- 
mats’a.  Before  she  began  dan- 
cing she  said : u Do  not  get  hungry, 
do  not  eat  me.”1  She  had  hardly 
said  so  when  her  master,  who  was 
standing  behind  her,  split  her 
skull  with  an  ax.  She  was  eaten 
by  the  ha/mats’a.  This  happened 
in  Newettee,  and  Q’omEna'kula, 
who  participated  in  the  perform- 
ance, was  living  until  a couple  of 
years  ago.  He  told  me  that  it 
is  exceedingly  hard  to  eat  fresh 
human  flesh,  much  more  so  than 
to  eat  dried 
corpses. 

The  bones 
of  the  killed 

slaves  were  kept  at  the  north  side  of  the 
house,  where  the  sun  does  not  shine  upon  them. 

During  the  fourth  night  they  were  taken  out  of  the 
house,  tied  up,  weighted  with  a stone,  and  thrown 
into  deep  water,  because  it  is  believed 
that  if  they  were  buried  they  would 
come  back  and  take  their  master’s  soul. 

When  the  ha/mats’a  had  bitten  a piece 
out  of  the  arm  of  one  of  his  enemies,  he 
drank  hot  water  after  having  swallowed 
the  flesh . It  was  believed  that  this  would 
result  in  the  inflammation  of  the  wound. 

Nowadays,  when  the  ceremonies  have 
lost  much  of  their  former  cruelty,  they  do 
not  actually  bite  the  piece  of  flesh  out  of 
the  arm,  but  merely  pull  the  skin  up  with 
their  teeth,  sucking  hard  so  as  to  remove 
as  much  blood  as  possible,  and  then  with  a small  sharp  knife  cut  off 
secretly  a piece  of  skin.  This  is  not  swallowed,  but  hidden  behind 

1 Qoa'la  mE'sala  g-a/xEn. 

Do  not  be  hungry  to  me. 


Fig.  59. 

BATTLE  OF  HE'LIGFA. 

Representation  of  a being  with  a human  head, 
hands,  and  feet,  and  dorsal  fins.  Length,  14 
inches;  green,  black,  red. 

IV  A,  No.  424,  Royal  Ethnographical  Museum,  Berlin.  Collected 
by  A.  Jacobsen. 


Fig.  60. 

BATTLE  OF  HE'LIG’A. 

Length,  14-|  inches;  black  and  red, 

IV  A,  No.  522,  Royal  Ethnographical  Museum,  Berlin. 
Collected  by  A.  Jacobsen. 


Report  of  U.  S National  Museum,  1895. — Boas. 


Plate  23. 


Rock  Carving  on  the  Beach  at  Fort  Rupert,  representing  the  Face  of 
BaxbakualanuXsT'wae. 

Froma  photograph. 


Report  of  U.  S.  National  Museum,  1895. — Boas 


Plate  24. 


Rock  Carvings  on  Beach  at  Fort  Rupert,  representing  the  Sea  Monster  Ia'k’im  and  a number  of  small  Faces. 

From  a photograph. 


Report  of  U.  S.  National  Museum,  1895.— Boas. 


Plate  25. 


Rock  Carvings  on  Beach  at  Fort  Rupert,  representing  a Series  of  Faces. 

From  a photograph. 


Report  of  U.  S.  National  Museum,  1895.— Boas. 


Plate  26- 


Rock  Carvings  on  Beach  at  Fort  Rupert,  representing  a Series  of  Human 
Faces. 

From  a photograph. 


Report  of  U.  S.  National  Museum,  1895. — Boas. 


Plate  27 


Tree  Burial  in  Fort  Rupert. 

From  a photograph. 


THE  KWAKIUTL  INDIANS. 


441 


tlie  ear  until  after  the  dance,  when  it  is  returned  to  the  owner,  in  order 
to  assure  him  that  it  will  not  be  used  against  him  for  purposes  of 
witchcraft. 

Besides  devouring  slaves,  the  ha/mats’as  also  devour  corpses.  When 
a new  ha/mats’a,  after  being  initiated,  returns  from  the  woods  he  will 
sometimes  carry  a corpse,  which  is  eaten  after  his  dance.  The  bodies 
are  prepared  for  this  ceremony.  The  skin  is  cut  around  the  wrists  and 
ankles,  as  they  must  not  eat  the  hands  and  feet.  It  is  believed  that 
else  they  would  die  immediately.  The  ha/mats’a  must  use  for  this  cere- 
mony the  corpse  of  one  of  his  deceased-  relatives,  which  the  heTig-a 
must  prepare.  The  Kwakiutl  used  to  bury  their  dead  on  trees.  The 
body  was  placed  in  a box,  and  these 
boxes  were  placed  on  branches  a 
considerable  distance  up  a tree. 

There  the  boxes  were  piled  one  on 
top  of  the  other  (Plate  27).  The 
bodies,  when  so  exposed  to  the  ac- 
tion of  the  freely  circulating  air, 
mostly  mummify.  A corpse  is  taken 
down  from  the  tree  and  is  soaked  in 
salt  water.  The  heTig-a  takes  hem- 
lock twigs,  the  leaves  of  which  have 
been  removed,  and  pushes  them  un- 
der the  skin,  gradually  removing  all 
the  decayed  flesh  until  nothing 
but  the  skin  remains.  After  this  is 
done  the  body  is  placed  on  top  of 
the  small  hut  in  which  the  novice 
(g'l'yakila)  is  living  while  he  is 
staying  in  the  woods.  The  hands 
of  the  body  hang  down.  Its  belly 
is  cut  open  and  spread  with  sticks. 

The  ha'mats’a  keeps  a fire  under  it 
and  smokes  it.  Four  days  before 
he  returns  to  the  village  he  sends  for  all  the  old  ha/mats'as.  When 
they  come,  he  tells  them:  u These  are  my  traveling  provisions,  which 
I received  from  BaxbakualanuXsTwae.” 1 He  asks  them  to  point  out 
Avhat  shares  they  desire  to  have  when  he  will  return.  They  take 
the  body  down  and  place  it  on  a clean  mat.  Each  points  out  what 
he  desires  to  have.  His  return  will  be  described  later  on  (p.  527). 
His  k-knqalaLala  returns  with  him.  She  carries  the  corpse  which  has 
been  prepared.  She  goes  backward,  facing  the  lia/mats’a.  When  she 
reaches  the  right  side  of  the  fire,  the  ha/mats’a  enters  the  house.  He 
stoops  so  that  his  face  is  close  to  the  ground.  On  entering,  he  turns 
four  times,  descends  to  the  middle  of  the  house,  and  when  he  is  four 
steps  away  from  the  door,  he  turns  again  four  times.  When  the 

1 G’amEii  g'iwulkoa  da  g-u/Lila  yus  BaxbakmllaiiuXsi'wae. 

This  my  traveling  provisions,  the  food  given  by  BaxbakualanuXsi'wae. 


Fig.  61. 


ROCK  CARVING  AT  FORT  RUPERT. 

Height,  15  inches. 


442 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


k-i'nqalaLala  reaches  the  rear  of  the  house,  she  turns  again.  A drum 
is  placed  in  the  middle  of  the  rear  of  the  house,  bottom  up.  The 
k-i'nqalaLala  pretends  to  put  the  corpse  on  the  drum,  but  walks  past 
it,  the  ha/mats’a  following  her.  At  the  door  she  turns  again,  pro- 
ceeds around  the  tire,  and  when  she  reaches  the  drum  a second  time, 

she  turns  again  and 
pretends  to  put  the 
body  down.  At  this 
time  all  the  old  ha/- 
mats’as,  who  have 
been  outside  the 
house,  jump  down 
from  the  roof  and 
rush  in  through  the 
doors.  They  are  all 
naked  and  follow  the 
k-i'nqalaLala  in  a 
state  of  high  excite- 
ment. When  they 
have  run  around  the 
fire  four  times,  the 
body  is  put  down  on 
the  drum. 

The  master  of  cere- 
monies (see  p.  501)  begins  to  cut  it  and  distributes  the  flesh  among  the 
ha/mats’a.  But  first  the  k-i'nqalaLala  takes  four  bites.  The  people 
count  how  many  bites  each  of  them  swallows.  They  are  not  allowed 
to  chew  the  flesh, 
but  they  bolt  it. 

The  k-i/nqalaLala 
brings  them  water 
to  drink  in  between. 

After  this  part 
of  the  ceremony  is 
finished,  thehe'lig-a 
rise,  each  takes  one 
ha'mats’a  at  the 
head,  and  they  drag 
them  to  the  salt 
water.  They  go  into 
the  water  until  it 
reaches  up  to  their 
waists,  and,  fac- 
ing the  rising  sun,  they  dip  the  lia'inats’a  four  times  under  water. 
Every  time  he  rises  again  he  cries  hap.  Then  they  go  back  to  the 
house.  Their  excitement  has  left  them.  They  dance  during  the  fol- 
lowing nights.  They  look  downcast  and  do  not  utter  their  pecu- 
liar cries,  hap,  hap.  They  do  not  dance  squatting,  but  in  an  erect 


Fig.  63. 

HEAD  RING  OF  HA'MATS’A,  ORNAMENTED  WITH  JOUR  CROSSPIECES. 
Cat.  No.  1 “2951 5,  U.  S.  N.  M.  Collected  by  F.  Boas. 


THE  KWAKIUTL  INDIANS. 


443 


Fig.  64. 

HEAD  RING  OF  HA'MATS’A. 

IV  A,  No.  580,  Royal  Ethnographical  Museum,  Berlin.  Col- 
lected by  A.  Jacobsen. 


position.  After  tlie  close  of  tlie  ceremonial  the  ha/mats’a  by  the  pay- 
ment of  blankets  indemnifies  those  whom  he  has  bitten  and  the  owner 
of  slaves  whom  he  has  killed. 

The  ceremonial  of  the  return  of  the 
ha'mats’a  will  be  described  later  on, 
when  an  account  of  the  whole  winter 
ceremonial  will  be  given.  My  object 
here  is  to  describe  the  manner  of 
dancing,  so  that  I do  not  need  to 
refer  to  the  subject  again  later  on. 

The  ha/mats?a  has  two  ways  of 
dancing — one  representing  him  in  a 
stage  of  greatest  excitement,  the 
other  when  he  is  becoming  pacified. 

His  first  dance  and  sometimes  part  of  the  second  are  danced  in  the 
former  position,  the  others  are  danced  in  the  second  position.  The 

first  dance  represents  him  as  looking 
for  human  flesh  to  eat.  He  dances 
in  a squatting  position,  his  arms 
extended  sideways  and  trembling 
violently  (fig.  62).  He  first  extends 
them  to  the  right,  then  to  the  left, 
changing  at  the  same  time  the  posi- 
tion of  the  feet  so  that  when  extend- 
ing his  arms  to  the  left  he  rests  on 
his  left  foot  and  the  right  foot  is  ex- 
tended backward;  when  extending 
his  arms  to  the  right,  he  rests  on  his 
right  foot  and  the  left  foot  is  extended  backward.  Thus  he  moves  on 
slowly  with  long  steps.  His  head  is  lifted  up,  as  though  he  was  looking 
for  a body  that  was  being  held  liigh  up  in 
front  of  him.  His  eyes  are  wide  open,  his 
lips  pushed  forward,  and  from  time  to  time 
he  utters  his  terrible  cry,  hap.  His  attend- 
ants surround 
him,  and  two  of 
them  hold  him 
at  his  neck  ring 
thathemaynot 
attack  the  peo- 
ple. When  in 
the  rear  of  the 

house,  he  suddenly  changes  his  position, 
putting  his  bands  on  his  hips  and  jumping 
in  long  leaps  with  both  legs  at  the  same 
time,  his  face  still  bearing  the  same  expression.  In  this  position  he  turns 
in  the  rear  of  the  fire.  Thus  he  continues  his  four  circuits,  changing 


Fig.  65. 

HEAD  RING  OF  HA'MATS’A. 

IV  A , No.  578,  Royal  Ethnographical  Museum,  Berlin, 
lected  by  A.  Jacobsen. 


Fig.  67. 

HEAD  RING  OF  HA'MATS’A. 

IV  A,  No.  579,  Royal  Ethnographical  Museum,  Ber- 
lin. Collected  by  A.  Jacobsen. 


Fig.  66. 

HEAD  RING  OF  HA'MATS’A. 
Front  crosspiece  representing  the 
milky  way. 

IV  A,  No.  6878,  Royal  Ethnographical  Museum, 
Berlin.  Collected  by  F.  Boas. 


444 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


from  time  to  time  from  tlie  slow  trembling  movement  to  the  long  leaps. 
During  this  time  his  k-i'nqalaLala— if  he  is  a novice — dances  backward 
in  front  of  him.  She  stands  erect  and  holds  her  hands  and  forearms 
extended  forward  as  though  she  was  carrying  a body  for  the  ha/mats’a 
to  eat.  Then  his  eyes  are  directed  to  her  hands,  which  she  keeps  mov- 
ing up  and  down  a little  with  each  step.  Her  open  palms  are  turned 

upward.  In  his  second  dance  the 
ha'mats’a  dances  standing  erect. 
While  in  his  first  dance  he  is  naked, 
he  is  now  clothed  in  a blanket. 
Now  he  holds  his  forearms  upward, 
the  elbows  being  near  his  flanks,  the 
palms  forward,  the  fingers  lightly 
bent.  His  hands  are  still  trembling 
violently.  His  dance  consists  of 
rhythmical  steps  coincident  with 
the  beats  of  the  batons.  He  takes 
very  high  steps,  so  that  his  knees 
almost  touch  his  chest.  When  rais- 
ing one  foot,  he  bends  at  the  same 
time  the  knee  of  the 
other  leg,  and  thus 
drops  his  trunk  consid- 
erably without  chang- 
ing his  position  (Plate 
28).  He  always  puts 
down  the  whole  sole 
of  his  foot. 

When  he  fir  st  returns 
from  his  initiation,  he 
wears  a head  ring,  neck 
ring,  waist  ring,  brace- 
let, and  anklets  made 
of  hemlock  branches. 
The  form  of  these  rings 
varies  according  to  the 
legend  from  which  the 
ha/mats’ a derives  his 
origin.  While  most  of 
them  have  plain  hemlock  rings,  one  ha/mats’a  of  the  Koskimo  has  his 
set  with  small  rings  of  white  peeled  twigs,  which  set  off  clearly  against 
the  dark  green  ring  of  balsam  pine  (see  p.  595). 

The  painting  of  the  face  of  the  ha'mats’a  also  depends  upon  the 
legend  from  which  he  derives  his  origin.  Most  of  them  have  their  faces 
painted  black  all  over,  while  others  have  two  curved  red  lines  on  each 
cheek  running  from  the  corner  of  the  mouth  to  the  ear  in  a wide  curve 


Fig. 68. 

LARGE  HEAD  RING  OF  HA'MATS’A. 

Front  and  side  view. 

IV  A,  No.  554,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 


Report  of  U.  S.  National  Museum,  1895.—  Boas. 


Plate  28. 


Dance  of  the  Ha'mats’a. 

The  peculiar  head  and  neck  ring  of  the  dancer  were  obtained  from  the  Tlingit,  his  grandmother 
being  of  the  Tongass  tribe. 

From  a photograph. 


' 


THE  KWAKIUTL  INDIANS. 


445 


which  is  concave  on  the  upper  side.  This,  it  is  said,  is  where  Baxbaku- 
alanuXskwae  rubbed  off  the  ha/mats  Vs  skin,  or  to  indicate  that  they 
are  living  on  blood.  According  to  the  legend,  the  various  ha/mats’as 
become  excited  by  seeing  certain  objects  or  by  hearing  them  mentioned. 
All  of  these  refer  to  death.  The  exciting  object  for  one  ha/mats’a  is  the 


Fig.  72. 


Figs.  69-73. 

WHISTLES  OF  HA'MATS’A. 


Fig.  73. 


Fig.  69,  double  whistle ; fig.  70,  bone  whistle ; fig.  71,  whistle  of  five 
voices ; fig.  72,  double  whistle ; fig.  73,  single  whistle. 

Scale  J. 

IV  A,  Nos.  1729a,  6857,  1730a!,  17296,  1729c,  Royal  Ethnographical  Museum,  Berlin. 
Collected  by  A.  Jacobsen  and  F.  Boas. 


Fig.  74. 


DOUBLE  WHISTLE,  WITH 
FOUR  VOICES. 
Scale  J. 

IV  A,  No.  1730c,  Royal  Ethno- 
graphical Museum,  Berlin. 
Collected  by  A.  Jacobsen. 


ghost  or  corpse  $ for  another  one,  skulls ; for  still  others,  u a head  cut  off” 
or  maggots  or  x*a/wayu  (open  door).  Whenever  any  of  these  words 
occur  in  a song,  or  when  a dance,  figure,  or  painting  is  shown  repre- 
senting these  objects,  the  lia/inats’a  who,  according  to  his  legend,  is 
affected  by  them  falls  into  a state  of  ecstasy. 


446  REPORT  OF  NATIONAL  MUSEUM,  1895. 

If  the  dancer  is  not  a novice,  lie  dances  the  first  dance  with  his  cedar 
bark  ornaments,  which  the  new  ha'mats’a  does  not  wear  until  his 
fourth  dance.  These  consist  of  a heavy  crown  of  plated  cedar  bark 
and  a neck  ring  to  correspond,  anklets,  and  bracelets  (figs.  63-68). 

The  head  ring  fig.  63  is  set  with  four  crosspieces.  These  crosspieces 
designate  the  gifts  of  the  spirits  who  have  initiated  the  cannibal.  The 
front  piece  represents  the  milky  way,  the  cannibal  pole  of  Baxbaku- 
alanuXsTwae,  the  two  lateral  pieces  represent  the  ho'Xhok".  The 
rear  crosspiece  is  said  to  be  merely  an  ornament.  Some  ha'mats’as 
wear  a bear  skin  which  is  set  with  the  scalps  of  the  slaves  whom  he 
has  eaten  or  of  the  enemies  whom  he  has  slain.  The  symbolic  meaning 

of  a number  of  crosspieces 
will  be  described  in  detail 
further  on  (p.  449). 

During  the  dances  of  the 
ha/mats’a  whistles  are 
heard  (figs.  69-74),  which 
represent  the  voices  of  the 
spirits.  Most  of  these 
whistles  are  small.  They 
are  made  of  red  cedar.  A 
few  are  made  of  bone. 

After  his  first  dance,  the 
ha/mats’a  disappears  in  a 
room  set  aparfc  for  this  pur- 
pose in  the  rear  of  the 
house.  It  is  called  the  ma/wiL,  and  is  supposed  to  be  the  house  of 
BaxbakualanuXsfwae.  Its  front  is  painted  with  designs  which  repre- 
sent either  the  face  of  BaxbakualanuXsTwae  himself  or  that  of  his 
servant  the  raven.  The  top  of  the  front  is  set  with  fringes  of  red 
cedar  bark  (fig.  75).  The  room  is  always  so  arranged  that  when  the 
ha/mats’a  reappears,  he  comes  out  of  the  mouth  of  the  painting  on  its 
front.  Plate  29  shows  the  ha'mats’a  coming  out  of  the  secret  room, 
which  is  painted  with  the  design  of  the  raven.  His  attendants,  as 
soon  as  he  appears,  run  up  to  the  secret  room  and  hold  the  ha/mats’a 
at  his  neck  ring.  Then  he  comes  forward  and  performs  his  dance. 

This  room  is  used  only  by  the  novice.  For  him  also  a high  pole  is 
erected  in  the  middle  of  the  rear  of  the  house.  It  is  called  the 
ha'msp’eq,  the  cannibal  pole.  It  is  a mast  from  30  to  40  feet  high, 
which  is  wound  with  red  cedar  bark.  At  the  top  is  a short  crosspiece 
about  4 feet  in  length.  The  cedar  bark  extends  up  to  it  so  that  it 
forms  a triangle  at  the  top  of  the  pole.  Sometimes  a triangle  painted 
with  the  face  of  BaxbakualanuXsi'wae  is  fastened  to  it  instead. 

As  mentioned  before,  the  novice  after  his  first  dance  disappears  into 
his  secret  room.  Soon  his  cries  are  heard  again,  and  he  is  seen  coming 
out  backward  at  the  side  of  the  ma/wiL.  He  wears  the  mask  of  the 
raven,  Qoa/qoaXualanuXsUwae  (fig.  76),  which  it  is  supposed  is  growing 


wm, 


Report  of  U.  S.  National  Museum,  1895. — Boas. 


Plate  29. 


Ha'mats’a  coming  out  of  Secret 

k photograph  of  a group  in  the  U.  S.  Nat 


' ■ 


Report  of  U.  S.  National  Museum,  1895.-  Boas. 


Plate  30. 


Masks  representing  BaxbakualanuxsT'wae. 


EXPLANATION  OF  PLATE  30. 


Fig.  1 

Fig.  2 

Fig.  3 
Fig.  4 


1 3 

2 4 

Masks  representing  BaxbakualanuxsT'wae. 

. Length,  17  inches;  height,  15  inches;  width,  18^  inches;  black,  red,  and 
green. 

. Painting  on  lower  side  of  the  mask  represented  in  Fig.  1. 

(Cat.  No.  TJ§X,  American  Museum  of  Natural  History,  New  York.) 

. Length,  11\:  inches ; black  and  red. 

. Painting  on  lower  side  of  the  mask  represented  in  Fig.  3. 

(Cat.  No.  xi§5,  American  Museum  of  Natural  History,  New  York.) 


THE  KWAKIUTL  INDIANS. 


447 


out  of  his  body.  He  now  personates  the  slave  of  BaxbakualanuXsI'- 
wae.  Actually,  it  is  not  the  same  person  who  is  wearing  this  mask,  but 
somebody  else  who  dances  in  his  place.  He  crouches  so  that  the  long 
beak  of  the  bird  is  close  to  the  ground  and  turns  his  head  with  sadden 
jerks  to  the  right  and  to  the  left.  Both  his  hands  are  hidden  under 
his  blanket  and  with  them  he  pulls  strings  which  make  the  jaw  of  the 
mask  open  and  shut  very  rapidly,  thus  producing  a loud  clappering 


noise.  As  soon  as  the  mask 
appears,  the  singers  begin 
the  following  song: 

Wa!  Everybody  is  afraid  of  the  t’se'ts’aeqa  mask  of 
BaxbakualanuXskWae. 

Wa!  Everybody  is  afraid  of  tbe  cannibal  mask  of 
Qoa/qoaXualanuXsT'wae. 

His  booked-beak  mask  causes  fluttering  of  the 
heart. 

His  lio'Xhok11  head  mask  causes  fluttering  of  the 
heart.1 

After  the  dancer  has  moved  around  the  fire 
four  times,  he  disappears  behind  the  ma/wiL. 

Then  the  lia/mats’a  comes  forward  again  out 
of  the  ma/wiL  and  dances  in  a squatting 
position  as  before,  but  perfectly  naked. 

He  disappears,  and  next  a dancer,  the  same 
one  who  wore  the  first  mask,  appears,  com- 
ing out  backward  at  the  side  of  the  ma/wiL. 

He  wears  the  mask  of  BaxbakualanuXsFwae 
himself,  and  dances  and  moves  in  the  same  position  as  the  Qoa/qoa- 
XualanuXsfiwae.  (Fig.  77  and  Plate  30.) 

It  will  be  noticed  that  some  of  these  masks  are  set  with  skulls  carved 
of  wood.  These  have  various  meanings.  They  may  indicate  that  the 
mask  was  obtained  in  war,  or  that  as  many  slaves  were  killed  for 
the  novice  as  there  are  skulls  attached  to  the  mask,  or  finally  they  may 
belong  traditionally  to  the  particular  ha/mats’a.  Throughout  these 
ceremonies  it  must  be  borne  in  mind  that  the  different  ha/mats’as  have 


Fig. 70. 

MASK  OF  QOA'QOAXUALANUX- 
Sl'WAE,  SET  WITH  FEATHERS 
AND  RED  CEDAR  BARK. 

Length,  43^  inches;  black, 
green,  red,  white, 

IV  A,  No.  892,  Royal  Ethnographical 
Museum,  Berlin.  Collected  by  A.  Ja- 
cobsen . 


1 See  Appendix,  page  686. 


448 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


each  a separate  tradition,  and,  therefore,  their  masks  and  ornaments 
differ.  While  the  dancer  who  wears  the  mask  of  BaxbakualanuXsPwae 
is  dancing,  the  singers  sing  the  following  song: 

He  is  carrying  the  ha/mats’a  head  mask  which  he  obtained  from  BaxbakualanuXsI'wae 

all  around  our  world.1 

After  he  has  danced  around  the  fire  four  times  he  disappears,  and  then 
the  ha/mats’a  comes  again  from  out  of  the  ma/wiL  dressed  in  his  orna- 
ments of  red  cedar  bark  and  dances  in  an  erect  position. 

When  an  old  ha/mats?a  performs  these  dances,  the  masks  do  not  appear, 
but  he  dances 
four  times  in 
succession,  first 
in  the  squat- 
ting position, 
then  the  latter 
part  of  the  sec- 
ond dance  and 
his  third  and 
fourth  dances 
erect. 

TheXa'q’oaq- 
toq  use  for  the 
novice  the  two 
masks  repre- 
sented in  fig.  78 

and  Plate  31.  The  legend  of  their  ha'- 
mats’a  was  told  in  the  preceding  chapter 
(p.  396).  The  mask  which  appears  first  is 
the  raven  mask ; then  the  dancer  performs 
his  second  dance,  wearing  the  ornaments 
shown  on  figs.  79  and  80.  His  third  dance 
is  that  of  the  ho;xhoku  (Plate  31).  His 
cedar  bark  headdress  for  the  first  dance 
is  shown  in  fig.  79,  for  the  last  dance  in 
fig.  80.  In  both  dances  he  wears  the  neck 
ring  fig.  81. 

The  raven  mask  (fig.  82)  belonged  orig- 
inally to  a ha/inats’a  of  the  He/iltsuq,  from  whom  the  Kwakiutl 
obtained  it  by  marriage.  When  in  use,  a sleeveless  waist  of  eagle 
skins  which  reaches  down  to  the  hips  is  attached  to  it.  The  arms  of 
the  dancer  are  tied  with  red  cedar  bark  above  the  elbows  and  at 
the  wrists.  He  wears  an  ordinary  neck  ring.  He  also  wears  bands 
around  knees  and  ankles  and  a waistband,  all  made  of  red  cedar  bark 
similar  to  those  worn  by  the  dancer  represented  in  Plate  31.  The 
legend  from  which  the  mask  derives  its  origin  is  as  follows:  A chief 


MASK  OF  BAXBAKUALANUXSI'WAE,  SET 
WITH  RED  CEDAR  BARK. 

Length,  27  inches ; black,  white,  red. 

IV  A,  No.  893,  Royal  Ethnographical  Museum, 
Berlin.  Collected  by  A.  Jacobsen. 


1 Sec  Appendix,  page  687. 


THE  KWAKIUTL  INDIANS. 


449 


was  deserted  on  an  island  by  bis  slaves.  He  thought  he  would 
have  to  die  of  hunger.  He  sat  down  and  covered  his  face  with  his 
blanket  and  cried.  Then  he  heard  his  name  being  called.  He  looked 
up,  but  did  not  see  anyone.  He  covered  his  head  again.  Soon  his 
name  was  called  a second  time,  but  he  could  not  discover  anyone.  The 
same  hap- 
pened a third 
time.  Then 
he  bit  a hole 
in  his  cedar 
bark  blanket 
and  peeped 
through  it. 

Soon  he  saw 
a mouse  com- 
ing out  of  a hole  and  calling  him.  He 
threw  off  his  blanket  and  spoke  to  the 
mouse,  who  invited  him  to  enter.  She 
warned  him,  however,  to  take  care  of  the 
door.  The  chief  followed  her.  She  led 
him  down  the  rock  to  Q’o'moqoae’s  house. 

The  door  of  the  house  was  the  raven, 

Qoa/qoaXualanuXsI'wae,  who  snapped 
at  everybody  who  entered  the  house. 

The  chief  jumped  through  the  door 
when  it  opened.  Q’o'maqoae  gave  him 
the  ha'mats’a  dance  and  the  raven  mask. 

In  order  to  explain  the  meanings  of 
the  crosspieces  on  the  head  rings  and 
of  the  attachments  to  the  neck  rings  of 
the  ha/mats’a,  I must  insert  a few  tradi- 
tions referring  to  this  subject: 

Following  is  the  legend  of  the  origin 
of  the  Gr-agg-aendx: 

The  first  of  the  A'wa-iLala  lived  at 
Ts’a'wate.  Their  chief  was  Gu'mg-ila. 

His  sons  were  Qoa/wiLpe  and  Xa'niats’- 
amg*ilaku.  They  were  always  very  happy, 
because  their  tribe  was  numerous.  One 
night  they  were  attacked,  and  Gu'mg-ila 
and  his  two  sons  alone  were  saved.  When 
the  day  came  Xa'niats’amgdla^felt  very  ill  at  ease  and  told  his  father: 
aI  will  go  into  the  woods.  Do  not  try  to  see  me,  my  dear!”  His  father 
replied:  “Only  take  care,  my  son,  lest  something  might  happen  to 
you.  Do  nothing  that  is  wrong,  because  you  intend  to  go  and  obtain  a 
magic  treasure.  Rub  your  body  for  four  days  with  hemlock  branches, 
else  you  will  smell  like  man.”  Then  they  separated.  The  young  man 
NAT  MUS  95 29 


450 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


went  into  the  woods  at  once  and  rubbed  his  body  with  hemlock 
branches  for  four  days.  He  did  not  speak  to  anybody.  Then  he  walked 
up  the  river  Ts’a/wate  and  came  to  a lake.  A loon  swam  to  the  shore 
and  asked  him:  “What  are  you  doing  here?”  Xa'niats’amg-ilak11 
replied:  “lam  looking  for  a magic  treasure.”  “Take  my  name,”  said 
the  loon.  “Your  name  is  now  Ta'l- 
ts’aas.”  Then  the  loon  flew  away  and 
Xa'niats’amg-ilak"  left  the  lake  and 
went  up  the  river.  He  arrived  at  the 
next  lake  and  sat  down  on  the  shore. 

Xow  he  saw  a seal  coming  ashore. 

The  seal  said:  “What  are  you  doing 
here?”  He  replied:  “I  am  looking 
for  a magic  treasure.”  The  seal  said : 

“Take  my  name.  Your  name  is  now 
La'lelaweqame.”  The  seal  left  him, 
and  he  walked  farther  up  the  river. 

Xow  he  arrived  at  the  great  lake. 

There  he  sat  down.  Then  he  saw  a sea  lion,  which  swam  up  to  the 
place  where  he  was  sitting.  He  asked:  “What  are  you  doing  here,  my 
friend?”  Xa'niats’amgdlak11  replied:  “I  am  looking  for  a magic  treas- 
ure,” and  the  sea  lion  said:  “Take  my  name.  Your  name  is  now 
Mo'nakoala.”  Then  the  sea  lion  left  him. 

He  went  farther  up  the  river  and  arrived  at  a very  large  lake.  There 

hesatdown.  Thenhe 
saw  a whale  emerg- 
ing and  coming  up  to 
him.  The  whale 
asked:  “What  are 
you  doing  here?” 
He  replied:  “I  am 
looking  for  a magic 
treasure.”  Then  the 
whale  said:  “Take 
my  name.  Your  name 
is  now  Ya'qaLnala 
and  Qoayi'mts’e  and 
Ge'maxalas  and  a 
La/uayegalise.  Then 
the  whale  left  him. 
Xa'nia  t s’a  m g-i  1 a ku 
still  felt  badly  and  cried.  There  were  no  more  lakes  and  he  wanted  to  kill 
himself.  For  four  days  he  stayed  there  and  washed  and  rubbed  his  body 
with  hemlock  branches.  Then  he  went  to  the  top  of  the  mountains. 
He  came  to  the  top  of  the  great  mountain  Da/duqola.  He  did  not  see 
anything  there,  and  walked  to  the  great  mountain  Xola.  He  did  not 


Fig.  80. 

HEAD  RING  OF  HA'MATS’A. 

U.  S.  National  Museum.  Collected  by  F.  Boas. 


Fig.  79. 


HEAD  RING  OF  HA'MATS’A. 

Cat.  No.  169111,  U.  S.  N.  M.  Collected  by  F.  Boas. 


THE  KWAKIUTL  INDIANS. 


451 


see  anything  there.  Therefore  he  felt  badly  and  was  about  to  turn 
homeward.  Then  he  discovered  steam  rising  halfway  down  the  moun- 
tain. He  went  to  that  place.  It  was  evening  when  he  arrived  there. 
He  saw  a lake  with  steep  precipices  all  around  it,  like  to  a washtnb. 
He  tried  to  find  a way  to  go  down  to  the  lake.  He  slept  during  the 
night.  In  the  morning  he  twisted 
cedar  twigs.  He  made  four  long 
pieces  so  that  the  end  reached  down 
to  the  water.  Now  he  saw  a small 
island  floating  on  the  lake.  He 
climbed  down  the  cedar  rope  and 
came  to  the  lake.  Then  the  fishes 
in  the  lake  covered  his  whole  body 
and  sucked  at  it.  After  he  had 
bathed  he  climbed  up  the  rope 
again.  The  fishes  had  sucked  at 
his  body  so  that  it  was  all  covered 
with  blood.  In  the  evening  he 
climbed  down  again.  The  fishes 
tormented  him  in  the  same  manner. 

Then  he  climbed  up  again  and  sat  on 
the  ground.  The  following  morn- 
ing he  saw  a cloud  descending  to 
the  lake.  When  the  cloud  lifted,  what  should  he  see*?  There  was  a 
canoe  on  the  lake  with  fifteen  men  in  it.  Fourteen  were  paddling  and 
one  was  standing  in  the  bow  of  the  canoe.  He  carried  a spear  in  his 
hand.  They  kept  close  to  the  island.  Three  times  they  went  around  it. 
Then  Xa'niats’amgulak11  climbed  down  his  rope.  As  soon  as  he  reached 


Fig.  82. 


HAVEN  MASK. 

Cat.  No.  169114,  U.  S.  N.  M.  Collected  by  F.  Boas. 

the  water  he  dived  and  swam  to  the  island.  When  he  was  near  it,  he 
raised  his  head.  After  a short  time  the  canoe  came  to  the  place  where 
he  was  in  hiding.  He  took  hold  of  the  canoe  under  its  bow.  Then  the 
men  became  afraid  and  rushed  to  the  stern  of  the  canoe.  The  chief 
of  the  men  said:  “Look  what  stops  our  canoe!”  One  of  the  men  saw 


Fig. 81. 

NECK  RING  OF  HA'MATS’A. 

Cat.  No.  169112,  U.  S.  N.  M.  Collected  by  F.  Boas. 


452 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


Tig.  83. 

FIRST  HEAD  RING  OF  XA'NIATS’AMG'ILAK'J. 
Cat.  No.  175500,  U.  S.  N.  M.  Collected  by  F.  Boas. 


Xa'niats’amg-ilak11  holding  the  bow  of  the  canoe.  He  told  the  other 
men,  and  their  chief  said:  uO  Lord,  let  go!  I will  give  yon  the  water 
of  life.”  But  Xa'niats’amg-ilak11  only 
lifted  the  bow  of  the  canoe  higher. 

Then  the  men  spoke:  uO  Lord,  I will 
give  you  the  fire  that  burns  everything.’' 

Xa'niats’amg-ilak11  only  lifted  the  canoe 
still  higher. 

Then  the  man  spoke:  “O  Lord,  let 
go,  I will  give  you  the  death  bringer.” 

He  only  lifted  the  canoe  still  higher. 

“O  Lord,  let  go,  and  this  my  canoe 
which  moves  by  itself  shall  be  yours 
and  my  winter  dance  names,  A'myaxdt 
and  Ts’eg*eLilaku.  I am  the  harpooner 
of  heaven.”  Then  Xa'niats’amg-ilak11 
let  go  the  canoe.  The  harpooner  and  his  crew  went  out  of  the  canoe. 
He  took  the  water  of  life,  the  death  bringer,  and  the  fire,  and  put  them 

into  the  canoe.  Then  he  took  the  canoe 
and  squeezed  it  in  his  hands,  so  that  it 
became  small,  and  he  put  his  cedar  bark 
ornaments  on  the  head  of  Xa'niats’amg-i- 
lak11.  Then  the  harpooner  told  him  what 
to  do.  He  said:  u Take  care!  Sprinkle 
the  water  of  life  on  him  whom  you  want 
to  resuscitate.  If  you  show  your  fire 
whatever  you  point  at  will  be  burnt, 
however  far  it  maybe ; and  when  you  go 
to  war,  take  the  death  bringer,  and  all 
your  enemies  will  die.  And  you  will  kill 
all  the  sea  monsters  and  all  kinds  of 
animals.  When  you  want  to  go  any- 
where in  your  canoe,  just  put  it  into  the 
water,  go  aboard,  and  say,  1 paddle.’ 
Then  its  paddles  will  move  by  themselves. 
Its  name  is  ‘ Paddle  side  canoe.’  ” 

Then  the  man  disappeared  and  Xa'ni- 
ats’amg-ilak11 went  home.  When  he  was 
near  his  home,  he  took  the  fire  and  tried 
it  on  the  mountains  on  the  one  side  of 
the  house  of  Gu'mg-ila.  They  burnt 
right  away.  Then  he  was  glad.  Xow 
Gu'mg-ila  saw  the  mountain  burning 
and  spoke  to  his  other  son:  uO  dear! 
your  brother  has  done  well,”  for  he 
thought  that  it  was  he  who  made  the  mountain  burn.  Xot  long  after 
Xa'niats’amg-ilak11  entered  his  father’s  house.  They  gave  him  to  eat 
and  he  told  everything  to  his  father,  about  his  red  cedar  bark  and  about 


Fig.  84. 

SECOND  HEAD  RING  OF  XA'NIATS’AMG-ILAKU. 
Cat.  No.  175498,  U.  S.  N.  M.  Collected  by  F.  Boas. 


THE  KWAK1UTL  INDIANS. 


453 


the  names.  After  he  had  told  his  father,  he  said;  “Now  let  us  make 
war  upon  all  the  people  of  the  world.  Take  a good  canoe.  We  want 
to  find  them  who  killed  all  our  friends.77 

His  father  said:  “Yes,  my  son;  I think  you  have  obtained  magic 
power.  Let  us  go  to  morrow.  Only  take  care  of  the  sea  monsters.77 
Then  Gu'mgdla  cleaned  a good  canoe  and  put  the  mats  and  paddles 
into  it  in  the  evening.  The  next 
morning  he  launched  the  canoe. 

Then  Xa'niats’amg-ilak11  made  him- 
self ready  and  went  aboard.  He 
called  his  brother  Qoa/wiLpe,  and 
he  went  aboard  also.  Gu'mgdla 
stayed  ashore.  Then  Xa'niats7- 
amgdlaku  said  to  his  brother:  “I 
do  not  like  our  canoe,  and  I will 
change  it.77  Then  he  took  his  small 
stick  out  of  his  head  ring  and  put  it 
into  the  water.  At  once  it  became  a 
canoe  with  five  paddles  on  each  side. 

He  jumped  into  it  and  called  his 
brother.  He  also  jumped  aboard, 
his  cedar  bark  ring  and  took  out  the  wood  carving  in  shape  of  a beaver. 
He  said  to  his  canoe  “y  i i i,77  and  he  pointed  the  fire  bringer  to  the 
upper  end  of  the  village  and  it  caught  fire;  then  to  the  lower  end  of 
the  village,  and  it  also  caught  fire.  Now  he  told  his  canoe : “ Paddle ! 77 

and  it  paddled.  Then  Gu'mgdla 
was  glad  to  see  that  his  son  was 
a magician.  They  were,  going  to 
Ga'yux,  and  there  they  met  the 
monster  sea  otter.  He  struck  it 
with  the  death  bringer,  and  it  was 
transformed  into  a stone.  He  ar- 
rived at  Ga/yux.  Then  he  saw  the 
village  and  went  ashore.  He  was 
invited  and  the  people  fed  the  two 
brothers.  After  they  had  eaten, 
Xa'niats7amgdlaku  asked  his  host: 
“Who  are  you,  brother?’7  He 
replied:  “I  am  NEna/lagdla,  and 
this  is  my  wife,  Yo'lagilayukoa.77 
Then  Xa'niats7amgdlaku  said:  “Thank  you,  my  brother.  I am  Xa'ni- 
ats’amgdlaku,  the  son  of  Gu'mgdla.  This  is  my  elder  brother,  Qo'a- 
wiLpe.77  Then  NEna/lagdla  asked:  “Where  are  you  going?77  He 

replied:  “We  will  go  up  this  river.77  “ Don’t  do  that,  master,  else  you 
will  have  bad  luck,  because  there  are  monster  herrings  there.77  Xa'ni- 
ats7aingdlaku  replied : “ Don’t  you  know  the  monster  at  TsaXuala  where 
canoes  cross  the  inlet?  I vanquished  it.77  Then  he  called  his  elder 


Fig.  86. 

FIRST  NECK  RING  OF  XA'NIATS’  AMG'IIjAKu . 
Cat.  No.  175506,  U.  S.  N.  M.  Collected  by  F.  Boas. 


Fig.  85. 

THIRD  HEAD  RING  OF  XA'NIATS’AMGHLAKU. 

Cat.  No.  175504,  U.  S.  N.  M.  Collected  by  F.  Boas. 

Then  Xa'niats7amgdlaku  took  off 


454 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


brother  and  said:  “Now  I will  change  your  name.”  He  took  his  broth- 
er’s hands  and  rubbed  the  death  bringer  over  them.  They  were  turned 
into  stone,  and  he  spoke:  u How  your  name  shall  be  T’etesumx-stsana.” 
XEna/lagfila  said : u O,  master ! you  are  not  a common  man.  How  I see 
what  kind  of  a man  you  are.  You  will  make  war  upon  the  monster 

herrings  of  whom  we  are 
afraid $ but  be  careful.”  The 
canoe  paddled,  and  he  ar- 
rived at  that  lake.  When 
they  were  in  the  middle  of 
the  lake,  the  monster  her- 
rings came.  He  struck  his 
fire  at  them,  but  it  did  not 
kill  them.  They  jumped  into 
the  canoe  and  it  foundered. 
Then  Xa'niats’amg-ilak11  and 
his  brother  were  dead.  That 

SECOND  NECK  KING  OF  XA'NIATS’AMG'ILAK^.  . ..  - 

Cat.  No.  175499,  U.  S.  N.  M.  Collected  by  F.  Boas.  eilCl. 

Figures  83  to  91  represent 
the  cedar  bark  ornaments  of  XaTiiats’amg-ilaku.  In  fig.  83  is  shown  the 
head  ring  which  he  wears  in  his  first  dance.  The  upright  piece  in  front 
represents  the  magic  canoe  which  he  obtained  in  the  lake,  as  related  on 
page  452.  The  upright  pieces  at  both  sides  of  his  second  head  ring  (fig. 
84)  represent  the  fire  bringer. 1 The  crosspiece  on  the  forehead  of  his 
third  head  ring  (fig.  85)  represents  the 
death  bringer.  Figure  86  shows  his 
first  neck  ring,  which  has  four  rings  at- 
tached to  it.  By  these  the  attendants 
hold  him  when  he  is  dancing  the  ha/- 
mats’a  dance.  The  front  crosspiece  of 
his  second  neck  ring  (fig.  87)  designates 
that  he  has  the  powers  of  a shaman,  the 
other  one  that  he  was  made  a ha/mats’a 
by  encountering  the  spirits.  Figures 
88  and  89  are  the  rings  which  the  dan- 
cer who  personifies  Xa'niats’amg-ilak11 
wears  in  feasts  during  the  winter- dance 
season.  There  are  still  two  other  rings 
worn  by  the  dancer  which  refer  to  a por- 
tion of  the  legend  not  contained  in  the  preceding  version.  The  crosspiece 
on  the  head  ring  (fig.  90)  represents  the  death  bringer  which  he  obtained 
in  the  lake,  while  the  crosspieces  and  the  front  of  the  neck  ring  (fig.  91) 
represent  the  si'siuL  which  he  obtained  from  Ts’a/eqame. 

Figures  92  to  95  are  the  ornaments  of  Lexx*a/lix*ilagu.  According 

1 Owing  to  an  oversight  the.  one  lateral  horn  has  been  pulled  out.  The  loose  end 

should  have  been  pushed  down  into  the  ring. 


Fig.  88. 

HEAD  RING  WORN  BY  XA'NIATS’AMG’ILAK1* 
IN  FEASTS. 

Cat.  No.  175507,  U.  S.  N.  M.  Collected  by  F.  Boas. 


THE  KWAKIUTL  INDIANS, 


455 


Fig.  89. 

NECK  RING  WORN  BY  XA'NIATS’AMG-ILAKU 
IN  FEASTS. 

Cat.  No.  175508,  U.  S.  N.  M.  Collected  by  F.  Boas. 


to  tradition,  NomasE'nxelis,  an  ancestor  of  the  Haqo'mg-ilisala  had 
a son  named  LExx*a/lix-ilagu  (p.  335),  who  obtained  his  dances  from 
the  sI'siuL  and  from  the  wolves.  His  first  head  ring  (fig.  92)  shows  six 
crosspieces  in  front.  These  are  the  death  bringers,  and  the  upright 
piece  on  top  is  the  fire  bringer,  while  the  square  behind  represents  the 

bucket  containing  the  water  of  life. 
In  his  second  head  ring  (fig.  93) 
only  four  death  bringers  are  shown. 
This  ring  is  worn  in  his  second 
dance.  As  will  be  described  below, 
the  Naqo'mgdlisala  and  La'Lasi- 
qoala  take  off  some  of  the  symbols 
which  designate  the  supernatural 
powers  of  the  dancer  after  each 
dance.  The  ring  shown  in  fig.  94 
is  stripped  of  all  these  crosspieces 
and  is  worn  by  the  dancer  in  feasts. 
The  dancing  neck  ring  (fig.  95)  has 
two  crosspieces  on  the  sides.  These 
symbolize  the  gifts  of  the  sI'siuL, 
while  the  gifts  of  the  wolves  are 
symbolized  by  the  attachments  in 
front  and  in  the  back. 

Another  ha/mats’a  of  the  La'Lasiqoala,  on  returning  from  the  woods, 
dances  four  nights  with  wreaths  of  hemlock  branches  ; the  following 
four  nights  (the  fifth  to  the  eighth)  without  any  ornaments;  then 
four  nights  (the  ninth  to  the  twelfth)  with  ornaments  of  red  cedar 
bark.  He  wears  eight  bundles  over  his  forehead,  which  are  called 
k-’a/siwe,  and  four  on 
each  side.  The  next 
night,  after  he  has  fin- 
ished dancing,  one of  the 
k-’a/siwe  is  taken  off, 
which  is  publicly  an- 
nounced the  following 
morning.  The  four- 
teenth night  two  more 
of  these  bundles  are 
taken  away;  the  next, 
two  more;  and  finally, 
the  sixteenth,  one  more, 
which  is  also  publicly  an- 
nounced each  morning. 

The  seventeenth  night 
a black  line  is  drawn  over  his  face  from  the  left  side  of  his  forehead 
to  the  right  side  of  his  chin,  and  then  he  rises  to  bite  people.  Later 
on  he  is  excited  by  mistakes  and  by  songs  of  the  ghost  dancer.  The 
head  ring  is  meant  to  symbolize  the  moon,  and  the  decrease  in  the 


Fig.  90. 

HEAD  RING  OF  XA'NI  ATS’ AMG-  ILAKU . 
Cat.  No.  175492,  U.  S.  N.  M.  Collected  by  F.  Boas. 


456 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


size  of  tlie  ring  is  said  to  signify  the  waning  of  the  moon.  When  the 
ha/mats’a  returns,  a bloody  line  runs  over  his  face,  beginning  on  the 
cheeks,  curving  up  toward  the  nose,  which  it  crosses  in  its  upper  por- 
tion. It  is  said  to  designate  the  moon.  The  line  is  made  by  rubbing 
the  face  with  dogfish  skin.  It  is  said  that  this  line  indicates  the  effect 
of  Wina'lagdlis’s  canoe,  which  rubbed  against  the  face  of  the  novice. 

Each  ha/mats’a  has  eight  songs  of  his  own,  which  are  composed  for 
him  by  the  na/qate  at  the  time  of  his  return  from  the  woods,  and  are 
sung  whenever  he  dances. 

A young  man  who  first  becomes  a member  of  a secret  society  can  not 
join  the  ha/mats’a  until  after  a number  of  years.  For  seven  years  he 
must  have  been  a member  of  societies  of  lower  rank.  Then  in  the 


up;  then  the  one  who  desires  to  join  the  que'qutsa  says:1  icI  will  not 
stand  up  before  you.  I want  to  be  que'qutsa.”  He  is  asked  why  he 
desires  to  do  so,  but  only  replies:2  “I  have  finished  being  ha/mats’a.” 
Then  the  people  reply : 3 u Let  your  whistles  be  quiet,”  and  he  says  :4  UI 
will  keep  my  whistles  quiet.”  The  same  statements  must  be  made  by 
other  members  of  the  seal  society  who  desire  to  become  que'qutsa. 

On  the  following  day  the  master  of  ceremonies  sends  his  messengers 
to  invite  to  the  qap’e'k".  The  man  who  desires  to  become  a que'qutsa 


eighth  year  he  may  become  a 
ha/mats’a. 


NECK  RING  OF  XA'NIATS’AMG-ILAKU. 
Cat.  No.  175493,  U.  S.  N.  M.  Collected  by  F.  Boas. 


Pig.  91. 


The  ha'matsa’s  first  initia- 
tion is  called  g-i'yak-ila. 
After  four  seasons  he  may  be 
given  another  ha/mats’a  by 
his  father.  This  is  called  ta. 
After  he  has  been  initiated 
four  times  (yuduXp’Ena  ta= 
three  times  gone  into  it),  he 
may  leave  the  ranks  of  the 
ha/mats’a  and  become  a que'- 
qutsa.  This  is  called  u lock- 
ing the  whistles  into  the  box.” 
This  is  accomplished  in  the 
following  way:  When  the  mas- 
ter of  ceremonies  assembles 
all  the  people  (qap’e'k11,  see  p. 
502),  all  the  h a/mat s’as  stand 


1 K’VsLEn  La'x’uiL.  Que'quatsaLLEn. 
Not  I stand  in  house.  I shall  be  que'qutsa. 


Not  I stand  in  house. 


2La7mEn  qoa'L  lia'mats’a. 
I have  finished  ha'mats’a. 


4Qa/LaLEn  k-’eLEn  q'oa/tseowiL. 
I will  not  I cry  inside  (whistles). 


THE  KWAKIUTL  INDIANS. 


457 


must  join  them.  He  is  painted  with  the  particular  design  which  used 
to  excite  him — a head,  maggots,  the  raven,  the  x*a/wayu,  or  the  corpse. 
When  painting  them,  the  people  hold  them  tight  and  torment  them. 
The  skull  is  painted  in  black  on  the 
ha/mats’a’s  face;  the  maggots  are 
represented  by  numerous  little  dots, 
and  the  x*a/wayu  is  indicated  by 
a rope.  The  painting  representing 
the  corpse  are  feet,  because  when  the 
ha/mats’a  enters  the  house  carrying 
a corpse,  its  feet  are  always  visible 
under  the  blanket. 

Painted  in  this  manner  he  accom- 
panies the  messengers,  who  carry 
long  staffs  (que'sp’eq).  Theha'mats’a 
pretends  that  he  can  not  do  the  work 
assigned  to  the  messengers  properly. 

When  they  call  a name,  they  always 
strike  the  threshold  with  their  staffs. 

The  ha/mats’a  stands  in  their  midst 
and  they  strike  his  feet  with  their 
staffs  when  calling  a name.  In  short, 
he  is  maltreated  in  all  conceivable 
ways,  particularly  by  his  rival.  If  he 
can  not  endure  the  torments  longer, 
he  will  rush  to  the  seat  of  the  seal  society.  The  people  pull  him  back, 
push  him,  and  tear  hi‘s  clothes.  Then  he  gets  excited  and  bites  the  people. 

Following  are  a number  of  songs  of  the  ha/mats’a : 

ha'mats’a  song  composed  recently  by  Qoayo'stetsas.  1 

1.  I am  going  all  around  the  world  eating  everywhere  with  BaxbakualanuXsI'wae. 

2.  I give  you  no  time  to  escape  from  me  when  I go  with  BaxbakualanuXsi'wae. 

3.  I am  at  the  center  of  the  world; 
for  me  BaxbakualanuXsi'wae 
is  crying  hap. 

4.  I am  at  the  post  of  the  world; 
for  me  BaxbakualanuXsI'wae 
is  crying  hap. 

When  the  ha/mats’a  moves 
his  trembling  arms  from  right 
to  left,  he  indicates  by  gestures 
the  contents  of  the  song.  In 
the  preceding  song  the  ges- 
tures are  as  follows : With  the 
words  u I am  going,”  the  arms 
are  stretched  out  to  one  side;  u all  around  the  world,”  the  arms  swing 
around  in  a wide  circle;  “I,”  the  shoulders  are  alternately  brought 


Fig.  93. 

SECOND  HEAD  RING  OF  LEXX'A'LIX'ILAGtJ. 
Cat.  No.  175519,  U.  S.  N.  M.  Collected  by  F.  Boas. 


Fig.  92. 

FIRST  HEAD  RING  OF  LEXX'A'LIX'ILAGU. 
Cat.  No.  175518,  U.  S.  N.  M.  Collected  by  F.  Boas. 


Appendix,  page  688. 


458 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


forward  and  backward — this  means  that  the  dancer  himself  is  being 
referred  to 5 44  eating  everywhere,”  the  right  hand  stretches  far  out,  as 
though  it  was  taking  food,  and  is  then  brought  to  the  mouth,  while  the 

left  describes  a wide  circle,  indi- 
cating everywhere 5 “Baxbaku- 
alauuXsI'wae,”  both  hands  are 
bent  inward  and  the  finger  tips 
moved  toward  the  mouth,  mean- 
ing the  eater. 

I did  not  see  the  dance  of  the 
second  line.  In  order  to  explain 
the  gestures  of  the  third  line,  I 
must  give  a literal  translation: 
“I  went,  you  cried  4 hap7  for 
me,  BaxbakualanuXsI'wae,  at 
the  center  of  the  world.”  44  I 
went,”  gesture  as  above,  44  you 
cried  4 hap 7 for  me,  BaxbakualanuXsPwae,”  both  hands  bent  inward 
move  to  the  mouth,  as  above,  designating  the  cannibal  spirit;  then 
the  arms  are  stretched  far  backward,  the  palms  turned  downward, 
and  the  head  is  lowered,  this  being  the  cannibal  spirit’s  attitude 
when  crying  hap.  The  same  attitude  is  taken  by  the  dancer  wear- 
ing the  mask  (fig.  77)  when  he  clatters  with  its  movable  jaw,  at  the 
same  time  crying  hap.  44At 
the  center  of  the  world.” 

When  these  words  are 
sung,  the  dancer  is  in 
front  of  the  fire  and  looks 
up  to  the  rear  of  the 
house  in  BaxbakualanuX- 
sl'wae’s  attitude,  as  be- 
fore, because  then  he  is 
looking  at  the  center  of 
the  world.  The  last  line 
is  the  same  as  the  third. 

ha'mats’a  song  composed  recently  by  HeTltsaquls.1 

Ham  ham  a/mai.  ham  ham  a/mai,  hamai,  hamaima  ma/mai,  hamai  hamamai.  Ham 

hamam  ham  am  ham  amamai  hamei  hama/mai. 

1.  Ham  ham  a/mai.  Utter  the  ha'mats’a  cry,  utter  the  ha/mats’a  cry,  the  cry  of  the 

great  spirit  who  dwells  at  the  north  end  of  the  world. 

2.  Ham  ham  a/mai.  Utter  BaxbakualanuXsI'wae’s  cry,  BaxbakualanuXsI'wae’s  cry, 

the  cry  of  the  great  spirit  who  dwells  at  the  north  end  of  the  world. 

3.  Ham  ham  a/mai.  Utter  the  ho'Xhok11  cry,  the  ho'Xhok11  cry,  the  cry  of  the  great 

spirit  who  dwells  at  the  north  end  of  the  world. 

4.  Ham  ham  a/mai.  Utter  the  raven  cry,  the  raven  cry,  the  cry  of  the  great  spirit 

who  dwells  at  the  north  end  of  the  world. 


Cat.  No.  175521,  U.  S.  N.  M.  Collected  by  F.  Boas. 


Fig. 94. 

HEAD  BING  WOBN  BY  LEXX'A'LIX'ILAGtj  IN  FEASTS. 
Cat.  No.  175520,  U.  S.  N.  M.  Collected  by  F.  Boas. 


Appendix,  page  689. 


THE  KWAKIUTL  INDIANS. 


459 


The  mention  of  the  north  refers  to  the  fact  that  the  composer  is  a 
descendant  of  the  Tongass  by  his  mother’s  side.  He  claims  to  have 
obtained  his  ha'mats’a  from  her  tribe. 

ha'mats’a  song  composed  about  fifty  years  ago.1 2 

1.  Food  will  be  given  to  me,  food  will  be  given  to  me,  because  I obtained  this  magic 

treasure. 

2.  I am  swallowing  food  alive;  I eat  living  men. 

3.  I swallow  wealth;  I swallow  the  wealth  that  my  father  is  giving  away. 

The  presents  given  away  at  the  time  of  the  initiation  of  the  ha/mats’a 
and  at  his  later  dances  are  said  to  be  swallowed  by  him.  The  song 
means,  therefore,  that  through  his  ecstasy  his  father  was  compelled  to 
give  away  much  wealth. 

HA'MATS’A  SONG  OF  THE  LAUTTSlS.1 

1.  I went  all  around  the  world  to  find  food. 

2.  I went  all  around  the  world  to  find  human  flesh. 

3.  I went  all  around  the  world  to  find  human  heads. 

4.  I went  all  around  the  world  to  find  corpses. 

ha'mats’a  song  of  the  koskimo.1 

1.  You  will  be  known  all  over  the  world;  you  will  be  known  all  over  the  world, 

as  far  as  the  edge  of  the  world,  you  great  one  who  safely  returned  from  the 
spirits. 

2.  You  will  be  known  all  over  the  world;  you  will  be  known  all  over  the  world, 

as  far  as  the  edge  of  the  world.  You  went  to  BaxbakualanuXsI'wae,  and  there 
you  ate  first  dried  human  flesh. 

3.  You  were  led  to  his  cannibal  pole  in  the  place  of  honor  of  his  house,  and  his  house 

is  our  world. 

4.  You  were  led  to  his  cannibal  pole,  which  is  the  milky  way  of  our  world. 

5.  You  were  led  to  his  cannibal  pole  at  the  right-hand  side  of  our  world. 

This  song  was  sung  for  a youth  who  had  taken  the  place  of  another 
one  who  had  died.  Therefore  the  song  says  that  he  safely  returned 
from  the  spirits.  The  text  says : “ You  returned  from  Ia'lagdljs,”  which 
is  another  name  for  the  spirit  of  the  winter  dance.  The  milky  way  is 
the  cannibal  pole  of  BaxbakualanuXsI'wae;  in  other  cases  (see  p.  405) 
it  is  the  rainbow. 

SECRET  SONG  OF  THE  HA'mATS’a  WHO  CARRIES  A CORPSE. — ■AWI/K'?EN6x.3 

Now  I am  going  to  eat. 

My  face  is  ghastly  pale. 

I shall  eat  what  is  given  to  me  by  BaxbakualanuXsVwae. 

ha'mats’a  song  of  wa'nuk  composed  about  eighty  years  ago.3 

That  is  the  way  of  the  real  BaxbakualanuXsI'wae. 

Are  you  the  real  BaxbakualanuXsI'wae  ? 

This  refers  to  Wa/nuk’s  war  expedition.  He  had  cut  off  the  head  of 
his  enemy,  and,  holding  it  with  his  teeth,  he  said : That  is  the  way 

1 Appendix,  page  690.  3 Appendix,  page  692. 

2 Appendix,  page  691. 


460 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


of  BaxbakualanuXsPwae ! And  turning  to  his  dead  enemy  he  mocked 
him,  who  had  also  been  a ha/mats’a,  saying:  aDo  you  think  you  were 
the  real  BaxbakualanuXsI'waef’  thus  implying  that  he  was  more 
powerful. 

FEAST  SONG  USED  IN  A FEAST  GIVEN  IN  HONOR  OF  THE  HA'MATS’A.1 

1.  I came  to  your  dancing  house  to  eat  my  fill. 

2.  The  heat  of  the  whirling  flames  scares  me,  frightens  me  to  enter  your  dancing 

house,  where  everybody  warms  himself.  Wa  ha  hai,  waiya  wai. 

FEAST  SONG  USED  IN  A FEAST  GIVEN  IN  HONOR  OF  THE  HA'MATS’A.1 

1.  I came  to  your  dancing  house  to  eat  my  fill. 

2.  It  does  not  matter  if  your  fire  hurts  me,  and  if  I vomit  all  kinds  of  food  that  you 

set  before  us  in  your  dancing  house — you  to  whom  everybody  goes  to  get  food. 

ha'mats’a  song,  la'lasiqoala.1 

1.  The  lio'Xhoku’s  voice  is  heard  all  over  the  world.  Assemble  at  your  places, 

dancers ! at  the  edge  of  the  world. 

2.  The  raven’s  voice  is  heard  all  over  the  world.  Assemble  at  your  places,  men ! at 

the  edge  of  the  world. 

3.  The  ha'mats’a’s  voice  is  heard  all  over  the  world.  Assemble  at  your  places,  men ! 

at  the  edge  of  the  world. 

ha'mats’a  song,  la'lasiqoala.2 

1.  Truly ! He  goes  around  the  whole  world,  the  great  ha'mats’a,  looking  for  food  every- 

where, the  great  ha'mats’a,  on  both  sides  of  the  world. 

2.  Truly ! He  wants  to  eat  plenty,  the  great  ha/mats’a.  He  is  trying  to  eat  all  himself, 

the  great  ha'mats’a,  but  he  did  not  reach  the  food  that  he  was  going  to  obtain 
at  the  edge  of  the  world. 

3.  He  wants  to  eat  with  both  hands,  the  great  ha/mats’a,  at  the  house  of  the  one  who 

is  trying  to  eat  all  himself  all  over  the  world;  but  he  did  not  reach  the  coppers 
that  he  was  going  to  obtain  at  the  edge  of  the  world. 

This  trauslation  is  not  quite  certain.  The  song  refers  to  the  Goasi'la 
who  in  olden  times  had  many  dances  and  did  not  want  to  give  them  to 
the  other  Kwakiutl  tribes,  who  desired  to  obtain  them  through  mar- 
riage. The  La'Lasiqoala  heard  that  the  Goasi'la  intended  to  invite 
them  to  their  winter  dance.  They  were  invited  and  started  to  go,  but 
their  chief  was  afraid,  it  seems,  and  returned  back  without  attending 
the  feast. 

k-1'nqalalala  song  belonging  to  the  ha'mats’a  song  (p.  459,  No.  I).2 

1.  I hold  down  your  furor,  great  ha'mats’a. 

2.  I hold  down  your  whistles,  great  ha'mats’a. 

3.  I appease  your  voracity,  great  ha'mats’a. 

4.  You  are  looking  for  food  all  the  time,  great  ha'mats’a. 

5.  You  are  looking  for  heads  all  the  time,  great  ha'mats’a. 

6.  You  devour  wealth,  great  ha'mats’a. 


Appendix,  page  692. 


; Appendix,  page  693. 


THE  KWAKIUTL  INDIANS. 


461 


K'i'NQALALALA  SONG.1 

1.  Begin!  You  whose  eagle  down  which  is  strewn  all  over  her  body,  fills  the  house, 

who  brings  all  the  people  together  from  all  over  the  world. 

2.  Begin!  You  who  make  the  people  weak,  tempting  with  food  those  who  ate  too 

much,  whose  body  makes  the  people  of  the  whole  world  oversatiated. 

3.  Begin ! You  who  pile  the  red-hot  stones  up  to  the  roof  of  the  house  all  over  the 

world. 

The  girl  who  danced  this  k-i'nqalaLala  was  a prostitute  in  her  tribe. 
She  is  scourged  in  this  song.  The  composer  meant  by  the  eagle  down 
and  the  piles  of  red  stones  the  young  men  who  came  in  crowds  to  her 
house.  The  meaning  of  the  second  verse  becomes  also  clear  from  this 
point  of  view. 

k-I'nqalalala  song.2 

1 . BaxbakualanuXsI'wae  cries  hap  for  me ; he  utters  the  ha/mats’a  cry  for  me.  I have 

the  great  supernatural  power. 

2.  BaxbakualanuXsI'wae  and  his  companion  have  thrown  the  sound  of  whistles,  the 

sound  of  the  magic  power  into  me.  I have  the  great  supernatural  power. 

3.  I reached  the  place  where  the  exciting  cry  of  BaxbakualanuXsI'wae  and  his  com- 

panion is  heard.  I have  the  great  magical  power. 

k-1'nqalalala  song.3 

1.  The  sounds  of  the  winter  dance  are  heard  wherever  you  are,  great  one. 

2.  Ha/mats’a  cries  are  heard  wherever  you  are,  great  one. 

3.  You  went  right  up  to  the  raven,  and  the  sound  of  fighting  ravens  is  heard  wherever 

you  are. 

4.  You  went  right  up  to  the  shutting  mouth,  and  the  sound  of  the  ho'Xhoku  is  heard 

wherever  you  are. 

5.  You  went  right  up  to  him  who  carries  one  corpse  on  each  arm  for  you. 

The  ha/mats’a  cry  “hap”  was  obtained  by  the  Kwakiutl  through 
intermarriage  with  the  Awi'k^’enox.  The  dancer  was  by  descent  partly 
AwLk-’enox.  Therefore  the  song  says  that  he  carried  the  ha/mats’a 
cry  through  the  world.  (Line  4,  shutting  mouth = the  ho'Xhok11.) 

k-1'nqalalala  song.4 * 

1.  I have  the  winter  dance  song,  I have  magic  powers. 

2.  I have  the  ha/mats’a  song,  I have  magic  powers. 

3.  I have  BaxbakualanuXsi'wae’s  song,  I have  magic  powers. 

4.  Your  magic  power  killed  the  people,  and  therefore  they  all  hide  before  you,  fear- 

ing your  great  power. 

This  song  belonged  to  a man  who  had  killed  a chief  of  the  Qoe'xsot’- 
enox,  and  the  song  refers  to  this  fact.  Later  on  he  was  killed  by  a 
Qoe'xsot’enox,  who  now  owns  the  song. 

K'fNQALALALA  SONG  OF  THE  NIMKISH.4 

1.  I tame  the  wildness  of  BaxbakualanuXsI'wae  when  I see  it. 

2.  I cut  the  veins  of  the  wild  monster  in  the  north  when  I see  it. 

1 Appendix,  page  693. 

2 Appendix,  page  694. 

3Second  song  of  the  same  dancer  who  owns  the  preceding  song.  See  Appendix, 

page  694. 

•♦Appendix,  page  695. 


462 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


The  kd'nqalaLala  to  whom  belonged  this  song,  used  the  rattles  shown 
in  figs.  96,  97.  Each  rattle  represents  a raven  with  a skull  on  its  back; 
a fish  is  shown  on  its  stomach.  The  skull  indicates  that  the  ha/mats’a 

is  filled  with  the  desire  of  eating 
skulls.  The  form  of  the  rattle 
is  evidently  suggested  by  the 
beautiful  northern  raven  rattles. 
(See  pp.  623,  629.) 

This  song  was  also  made  for  a 
girl  of  ill  repute  who  had  spread 
the  syphilitic  contagion  among 
her  tribes.  To  this  refers  the  re- 
mark: “I  cut  the  veins  of  the 
wild  monster.”  The  singers 
mean  that  she  is  infecting  every- 
body, even  the  wild  monster. 

q’o'minoqa. 

The  q’o'minoqa  dance  was  ob- 
tained recently,  through  inter- 
marriage, from  the  La'Lasiqo- 
ala.  The  novice  also  disappears 
in  the  woods  to  be  initiated 
by  BaxbakualanuXsI'wae. 

F‘ Boas'  When  she  is  brought  back  by 

the  tribe,  her  hair  is  falling  out,  and  her  head  is  covered  with  blood, 
because  it  is  torn  by  BaxbakualanuXsUwae.  She  is  carrying  a skull  in 
each  hand.  As  soon  as  she  is  seen, 
the  ha/mats’as  begin  to  cry  hap  and 
dance  squatting  with  trembling- 
hands  up  to  her,  full  of  desire  to  de- 
vour the  heads  which  she  is  carry- 
ing. The  other  q’o'minoqas  and 
those  who  have  formerly  been 
qWminoqa  join  her  dance  and  move 
as  though  they  were  carrying  heads. 

Thus  she  dances  into  the  house,  al- 
ways surrounded  by  the  ha/mats’as, 
who  finally  take  the  skulls  out  of 
her  hands  and  lick  them  and  eat  the 
maggots  and  the  dry  skin  that  is  still 
attached  to  them.  When  returning, 
the  qVminoqa  is  dressed  in  hemlock 
in  the  same  way  as  the  ha/mats’a. 

Loose  hair  is  placed  on  her  head  and  alder  juice  is  streaming  down  her 
hair,  giving  the  appearance  as  though  she  was  bleeding  profusely  and 
as  though  her  hair  was  falling  out,  being  torn  off  by  BaxbakualanuX- 


Fig.  96. 

BATTLE  OF  K'J'NQALALALA. 

Length,  17|  inches;  black,  blue,  red. 

IV  A,  No.  6935,  Royal  Ethnographical  Museum,  Berlin.  Collected  by 


Fig.  97. 

BATTLE  OF  KVNQALALALA. 

Length,  16£  inches ; blue,  black,  red. 

IV  A,  No.  426,  Royal  Ethnographical  Museum,  Berlin.  Collected 
by  A.  Jacobsen. 


THE  KWAKIUTL  INDIANS. 


463 


sl'wae.  In  the  dances  performed  in  the  night  of  her  return  and  later  on 
she  wears  head  ring,  neck  ring,  anklets,  and  bracelets  of  red  and  white 
cedar  bark  mixed. 

q’o'minoqa  song.1 

1.  QVminoqa  went  with  me  all  around  the  world. 

2.  QVminoqa  walked  with  me  all  around  the  world. 

3.  Q’o'mindqa’s  left  side  is  foreboding  evil. 

4.  Q’o'minoqa’s  right  side  is  foreboding  good. 

By  the  La'Lasiqoala  the  q’o'minoqa  dance  is  sometimes  called  yiai'- 
atalaL.  Among  them  she  has  the  ornament  shown  in  fig.  98.  One  of 
her  songs  is  as  follows  :2 

1.  Truly,  the  people  join  your  dance. 

2.  Because  you  are  carrying  a rattle  in  your  hand  while  you  dance,  they  join  in  your 

praise. 

3.  On  account  of  all  that  you  are  carrying  in  your  hand,  they  join  in  your  praise. 

THE  HA/MSHAMTSES. 

The  Kwakiutl  state  that  before  obtaining  the  ha/mats’a  from  the 
He'iltsuq  they  had  only  the  ha'mshamtsEs,  who  is  also  initiated  by 
BaxbakualanuXsi'wae.  Nowadays  he  is  considered  as  inferior  to  the 
ha/mats’a,  and  the  dance  belongs  almost 
exclusively  to  women.  The  ceremonial  fol- 
lowing the  ha'mshamtsEs’s  return  from  his 
or  her  initiation  is  the  same  as  that  of  the 
return  of  the  ha/mats’a.  The  ornaments 
are  also  of  the  same  description,  except 
that  his  cedar  bark  is  not  twisted  and 
plaited,  but  simply  wound  around  his  head, 
neck,  wrists,  and  ankles.  He  does  not  use 
a ma/wiL.  His  cry  is  not  hap,  but  wip. 

He  does  not  dance  in  a squatting  position,  head  ring  of  q’o'minoqa. 
but  always  standing,  his  forearms  stretched  Laxasiqoaia. 

forward,  the  elbows  close  to  his  sides.  His  IVA’  No-  6869>  Royal  EthD°graPMcal  Museum, 

Berlin.  Collected  by  F.  Boas. 

hands  are  trembling.  After  his  first  dance, 

which,  as  all  others,  consists  of  four  rounds,  he  reappears  wearing  a 
mask.  This  is  either  a head  mask,  similar  to  the  QoaqoaXualanuX- 
sl'wae  mask  described  on  page  447  or  it  is  a full  face  mask.  Almost 
all  of  these  represent  animals,  the  protectors  of  the  dancer.  It  has 
not  become  clear  to  me  why  it  is  that  so  many  different  animals  may 
become  the  protectors  of  the  ha'mshamtsEs. 

I will  describe  a few  of  these  masks  and  give  the  songs  which  belong 
to  them.  Figure  99  is  a ha'mshamtsEs  mask,  the  outer  figure  of  which 
represents  the  grizzly  bear.  The  inner  face  represents  Baxbakual- 
anuXskwae.  The  red  rim  around  the  mask  is  blood,  which  is  shown 
because  the  bear  is  cut  open  in  order  to  make  the  inner  face  visible. 


Appendix,  page  695. 


Appendix,  page  696, 


464 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


The  painting  of  the  face  represents  parts  of  his  body.  The  chin  tuft 
is  at  the  same  time  the  uvula.  It  is  the  opinion  of  the  Kwakiutl  that 
the  uvula  is  the  cause  of  hunger,  and  that  BaxbakualanuXsI'wae  has  a 
very  large  uvula,  which  is  the  cause  of  his  voracity.  The  mustache 
represents  his  legs ; the  green  blots  on  the  cheeks,  his  body.  The  ears 
are  painted  over  the  eye,  and  have  the  shape  of  a raven’s  ears.  The 
blue  ornament  on  the  forehead  is  merely  painting,  intended  to  fill  a 
gap  that  did  not  please  the  artist.  The  peculiar  shape  of  the  nose  is 
called  u voracious  nose,”  and  is  meant  to  indicate  that  he  can  scent 
man  a long  distance  off.  The  name  of  the  owner  of  this  mask,  as  a 
member  of  the  “seal  society,”  is  always  Xa/wis.  After  he  joins  the 


Fig.  99. 


HA'MSHAMTSES  MASK. 

a,  Mask  closed,  representation  of  the  grizzly  bear.  Black  and  ■white;  decoration  of  ears,  red.  b,  Mask 
open,  representation  of  BaxbakualanuXsI'wae.  Face,  white;  ring  surrounding  face,  red;  region 
around  eyes  and  decoration  over  eyebrows,  blue;  decoration  on  cheeks,  green.  Breadth,  15  inches. 

IV  A,  No.  1242,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 

que'qutsa,  his  name  is  Qale'sEmak11  (=quartz  sound  in  front  of  him). 
Following  is  his  song: 1 

1.  He  is  looking  for  food  all  over  the  world,  hamama,  ama,  ama,  rnai,  hama,  mai. 

2.  He  is  looking  for  men  all  over  the  world. 

3.  He  is  devouring  living  men  all  over  the  world. 

4.  He  is  looking  for  heads  all  over  the  world. 

SONG  OF  HA'MSHAMTSES. 

The  following  song  is  sung  in  connection  with  the  mask  shown  in 

fig.  100: 2 

1.  He  will  sing  the  great  dancing  song  of  our  supernatural  friend  whom  everybody 

tries  to  imitate. 

2.  He  will  cry  hap  on  the  beach,  our  supernatural  friend  whom  everybody  tries  to 

imitate. 

3.  W e shall  see  his  mask  which  makes  him  go  all  over  the  world,  our  supernatural 

friend  whom  everybody  tries  to  imitate. 


Appendix,  page  697. 


Appendix,  page  698. 


THE  KWAKIUTL  INDIANS. 


465 


The  next  song  belongs  to  the  mask  shown  in  fig.  101 11 

1.  Famous  are  you,  your  fame  reaches  the  end  of  the  world. 

2.  The  people  try  to  imitate  you,  even  at  the  end  of  the  world. 

3.  We  shall  see  you  dancing  in  our  house. 

The  mask  (fig.  102,  p.  467)  represents  a sea  monster  called  Ia'k-im 
(badness).  It  opens,  and  the  inner  face  represents  the  killer  whale. 


Fig.  100. 

MASK  OF  HA'MSHAMTSES. 

The  small  figure  shows  painting  on  the  chin  of  the  inner  mask. 

IV  A,  No.  1248,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 

The  dorsal  fin  is  shown  on  the  inside  of  the  top  flap,  the  fins  on  each 
side  flap,  and  the  tail  on  the  lower  flap.  The  song  used  in  connection 
with  this  mask  is  as  follows : 2 

1.  You  were  wandering  in  valleys  and  over  mountains,  you  great  supernatural  one. 

2.  Farther  and  farther  you  went,  led  hy  your  supernatural  power. 

3.  You  went  to  the  end  of  the  world,  led  hy  your  supernatural  power. 

Appendix,  page  700.  2 Appendix,  page  703. 

NAT  MUS  95 30 


466  REPORT  OF  NATIONAL  MUSEUM,  1895. 


4.  Yon  will  sing  your  secret  song.  Everybody  will  imitate  your  ha/mats’ a cry.  You 
were  tbe  first  to  utter  the  ha/mats’a  cry,  you  great  supernatural  one.  You  were 
the  first  one  into  whom  BaxbakualanuXsI'wae  threw  his  power.  Your  power  is 
desired  even  at  the  edge  of  the  world.  Everybody  desires  to  possess  your 
powers. 


In  connection  with  the  mask  shown  in  fig.  103  (p.  468)  the  following 
song  is  sung:1 


1.  “I  went  all  around  the  world  with  my  protector,  looking  for  food  on  the  beach. ” 

2.  “Thus  I went  and  he  took  his  cedar  bark  ornaments  from  his  body  and  hung 

them  on  to  me.”  Therefore  everybody  wishes  to  have  your  power,  but  nobody 
in  the  whole  world  can  imitate  you. 

3.  “For  me  cried  the  raven.  His  cry  put  into  my  mouth  the  great  Qoa/xqoaXua/la- 

nuXslwae. 


Figures  104  to  110  (pp.  469-473)  show  some  .additional  ha'mshamt 
masks. 


Length,  17|  inches black,  red,  green,  white. 

IV  A,  No.  1247,  Royal  Ethnographical  Museum,  Berlin.  Collected 
by  A.  Jacobsen. 


NO'NTStSTALAL. 

This  dance  is  also  said  to  have 
been  obtained  comparatively  re- 
cently by  marriage  from  the  AwF- 
k-?enox.  The  novice  is  also  initi- 
ated by  BaxbakualanuXsFwae,  and 
has  the  power  to  handle  fire  with 
impunity.  In  his  ecstasy  he  takes 
up  glowing  coals,  puts  them  into 
his  mouth,  and  throws  them  upon 
the  people.  At  the  end  of  the 
dancing  season  he  must  pay  for  all 
the  damage  done  in  this  manner. 
His  ornaments  are  made  of  red  and 
white  cedar  bark.  Following  is  a 
song  of  the  No'ntsistalaL:1 

1.  The  gift  of  the  spirit  that  destroys 

man’s  reason,  O,  real  supernatural 
friend ! is  making  the  people  afraid. 

2.  The  gift  of  the  spirit  that  destroys 

man’s  reason,  0,  real  supernatural 
friend!  scatters  the  people  who  are 
in  the  house. 


NA'NE,  THE  GRIZZLY  BEAR. 

There  are  two  degrees  of  this  society,  BaxbakualanuXsFwae’s  grizz1 
bear  and  the  ordinary  grizzly  bear.  The  former  is  the  higher  in  ran 
Both  are  among  the  most  important  members  of  the  seal  society 
While  all  the  preceding  ones  belong  to  the  laxsa,  they  are  wFxsa. 
Therefore  at  the  time  of  the  initiation  they  are  not  taken  away  by  the 
spirit,  but  are  only  hidden  in  a corner  of  the  house,  whence  they  come 


1 Appendix,  page  705. 


2 See  page  420. 


Report  of  U.  S.  National  Museum,  1895.— Boas. 


Plate  32. 


Dress  of  Walas  Na'ne. 

From  A.  Bastian,  “ Northwest  Coast  of  America.” 


THE  KWAKIUTL  INDIANS. 


467 


forward  when  they  are  ready,  to  show  that  they  have  been  initiated. 
They  are  perhaps  the  most  dreaded  helpers  of  the  ha/mats’a,  as  it  is 
their  duty,  in  conjunction  with  the  nu'LmaL,  to  punish  all  transgres- 
sions of  laws  referring  to  privileges  of  the  ha/mats’a,  or  to  the  winter 
ceremonial  in  general.  I stated  before  that  the  penalty  of  some  mis- 
takes was  death.  The  unfortunate  ones  were  killed  by  the  grizzly 
bears  and  nu'LmaL.  They  are  also  the  watchers  of  the  dancing  house, 
and  often  with  the  other  members  of  the  seal  society  assemble  on  the 
roof,  and  by  their  wild  cries  and  threatening  attitude  frighten  away 
everybody.  They  always. wear- bear’s  claws  on  their  hands,  and  some- 
times appear  clad  in  bearskins.  Their  faces  are  painted  in  imitation 
of  an  immense  mouth  of  a bear.  Their  head  rings  and  neck  rings  are 
made  of  red  and  white  cedar  bark.  Each  of  these  is  twisted  in  a tight 
rope.  Then  they  are  twisted  around  each  other  and  tied  at  their  ends 


Pig.  102. 

MASK  OF  HA'MSHAMTSES : OUTER  MASK,  THE  SEA  MONSTER  IA'kIM;  INNER,  THE  KILLER  WHALE. 

The  small  figures  show  the  inner  sides  of  the  lateral  and  lower  flaps  when  open.  (Height,  17|  inches ; 
outer  mask  black  and  white;  inner,  blue,  black,  white,  red.) 

IV  A,  No.  565,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 

(figs.  Ill,  112,  pp.  473, 474).  Their  circuit  around  the  fire  can  hardly 
be  called  a dance.  In  the  first  and  the  third  dances  the  dancer  wears 
his  cedar  bark  ornaments.  The  dances  consist  in  violent  motions  of 
the  body,  imitating  the  actions  of  a bear  who  sits  on  his  haunches. 
Every  now  and  then  the  dancer  growls  and  scratches  the  ground  with 
his  paws.  In  the  second  and  fourth  dances  he  appears  clad  in  a bear- 
skin, walks  on  hands  and  feet,  and  paws  the  ground,  imitating  the 
motions  of  an  angry  bear. 

SONG  OF  A BEAR  DANCER  NAMED  WALAS  Na'nE  (GREAT  BFAR).1 

1.  How  shall  we  hide  from  the  hear  that  is  moving  all  around  the  world? 

2.  Let  us  crawl  underground ! Let  us  cover  our  hacks  with  dirt  that  the  great  ter- 
rible hear  from  the  north  end  of  our  world  may  not  find  us. 


1 See  Plate  32,  and  Appendix,  page  705. 


468 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


ANOTHER  SONG  OF  A BEAR  DANCER,  EA'lASIQOALA. 

Haiod'  a haioo' ! Let  your  great  name  be  called,  Great  Bear ! 

STou  will  go  at  once  to  the  chiefs  of  the  tribes,  whom  you  will  make  your  slaves, 
Great  Bear ! 

Then  we  shall  have  war ! 

Then  we  shall  have  trouble ! 

THE  NU'LMAL. 

The  noo'nLEmaLa  (pi.  of  nu/LinaL)  or  “fool  dancers”  are  also  mes- 
sengers and  helpers  of  the  ha/mat’sa,  who  help  to  enforce  the  laws 

referring  to  the  ceremo- 
nial. Their  method  of 
attack  is  by  throwing 
stones  at  people,  hitting 
them  with  sticks,  or  in  se- 
rious cases  stabbing  and 
killing  them  with  lances 
and  war  axes. 

The  noo'nLEmaLa  are 
initiated  by  a fabulous 
people,  the  A/Lasimk*, 
who  are  believed  to  live 
near  a lake  inland  from 
LiXsUwae.  Their  village 
is  believed  to  be  on  an  is- 
land floating  on  the  lake. 
Theyhaveenormousnoses 
and  their  bodies  are  cov- 
ered with  snot.  In  olden 
times  a man  went  beaver 
hunting  and  fell  in  with 
these  people.  He  came 
back  exhausted  and 
“crazy.”  His  nose  was 
running  all  the  time;  he  ate 
the  mucus  and  smeared  it 
all  over  his  body.  He 
urinated  and  defecated  in 
the  house,  and  only  after 
a long  time  did  the  people  succeed  in  restoring  him  to  his  senses. 

From  him  the  nbo'nLEmaLa  are  said  to  derive  their  origin.  They  are 
supposed  to  be  out  of  their  senses  and  to  have  long  noses.  They  are  as 
filthy  as  the  first  nu'LmaL  is  said  to  have  been.  Some  of  them  when 
initiated  are  taken  away  by  the  A'Lasimk-,  others  are  initiated  in  the 
house.  The  noo'nLEinaLa  are  wfixsa.  Those  who  are  to  be  initiated  in 
the  house  will  all  of  a sudden  begin  to  scratch  their  heads  and  bodies. 
They  scratch  more  and  more  violently.  This  indicates  that  they  are 


Fig.  103. 

MASK  OF  HA'MSHAMTSES. 

Height,  17J  inches ; white,  red,  black. 

IV  A,  No.  917,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 


Appendix,  page  705. 


Report  of  U.  S.  National  Museum,  1895. — Boas. 


Plate  33. 


The  Noo'nlemala. 
From  a photograph. 


Report  of  U,  S.  National  Museum,  1895.— Boas. 


Plate  34, 


Mask  of  Nulmal. 

British  Museum. 


THE  KWAKIUTL  INDIANS. 


469 


possessed  by  the  winter  dance  spirit.  After  four  days  they  are  confined 
in  the  corner  of  the  house,  and  appear  as  noo'nLEmaLa  at  the  time  of 
the  next  dance.  When  a young  man  is  to  be  initiated  in  this  order, 
the  old  noohiLEmaLa  will  throw  mucus  from  their  nose  on  to  him  and 
thus  u throw  the  spirit  of  the  winter  ceremonial  into  him.” 

The  nu/LinaL,  according  to  what  was  stated  above,  is  filthy  and  acts 
as  though  he  was  out  of  his  senses.  His  cry  is  we,  we,  we.  Paintings 
of  fool  dancers  are  shown  on  Plate  33.  They  do  not  dance,  but,  when 
excited,  run  about  like  madmen,  throwing  stones,  knocking  people 
down,  and  crying.  They  turn 
to  the  right  instead  of  to 
the  left,  and  make  the  cir- 
cuit of  the  fire  turning  to 
the  left.  Then  the  que'qutsa 
try  to  correct  them,  but  they 
grow  only  the  more  excited. 

They  dislike  to  see  clean  and 
beautiful  clothing.  They  tear 
and  soil  it.  They  break  ca- 
noes, houses,  kettles,  and 
boxes ; in  short,  act  the  mad- 
man in  every  conceivable 
way.  At  the  close  of  the 
dancing  season  they  must  in- 
demnify the  owners  for  all  the 
property  destroyed. 

The  noo'nLEmaLa  wear 
lances  and  war  clubs  during 
the  ceremonials,  with  which 
they  kill  the  offenders  of  the 
ha'mats’a  (figs.  113-116,  pp. 

475,  476).  Many  of  these  lances  are  carved  and  painted  with  the  design 
of  the  raven.  The  noo'nLEmaLa  wear  rings  of  red  cedar  bark,  which 
is  simply  tied  around  their  heads  and  hung  around  their  necks.  It  is 
not  plaited. 

When  they  first  appear  after  their  initiation,  and  also  when  per- 
forming their  ceremonial  dance  they  use  masks.  All  these  masks  are 
characterized  by  long  noses  of  curiously  round  shape.  The  face  is 
surrounded  by  a red  ring  which  represents  the  red  cedar  bark.  The 
type  of  these  masks  has  not  changed  during  the  last  century.  There 
is  one  in  the  IT.  S.  National  Museum  that  was  collected  by  the  Wilkes 
Expedition  (fig.  117,  p.  477).  Another  old  specimen  is  in  the  British 
Museum  (Plate  34).  The  similarity  of  this  type  of  mask  and  of  the 
newer  ones  collected  of  late  years  will  be  noticed  (figs.  118-122,  pp. 
477-479).  Any  mention  of  a long  nose  excites  the  niPLmaL.  He  does 
not  allow  his  nose  to  be  touched. 


Fig.  104. 

MASK  OF  HA'MSHAMTSES. 

Length,  13|  inches ; black,  white,  red. 

IV  A,  No.  1241,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A. 
Jacobsen. 


470 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


SONG  OP  NU'LMAL.1 

Go  on  ! go  on  ! go  on  ! you  great  one  ! Do  you  not  see  the  curdled  blood  on  the 
water,  the  blood  on  the  water  of  the  many  foes  whom  I killed  and  cut  to  pieces? 
I shall  he  the  greatest  nu/LinaL. 


Tig.  105. 


MASK  OF  HA'MSHAMTSES. 

The  upper  portion  represents  the  raven,  and  the  lower  portion  the  wings  of  the  raven,  on  the  out- 
side, and  the  sI'siuL  inside.  The  smaller  figure  shows  the  profile  of  the  lower  face.  Length,  18J 
inches;  hlack,  white,  red. 


IV  A,  No.  1250,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 


The  name  of  the  dancer  to  whom  this  song  belongs  is  NTu/LElagdlis 
as  a member  of  the  seal  society,  and  Tsauxsta/lag-ilis  as  a member  of 
the  que'qutsa. 


Appendix,  p.  706. 


THE  KWAKIUTL  INDIANS. 


471 


SONG  OF  NU'LMAL.1 

1.  Ha!  The  great  madness  came  down  and  is  disturbing  our  friend. 

2.  (Nn'LmaL  savs:)  “The  weapon  flew  into  my  hands  with  which  I am  murdering, 

with  which  I am  cutting  off  the  heads.” 

3.  Ha ! The  great  madness  entered  our  friend  and  he  is  killing  old  and  young. 

SONG  FOR  PACIFYING  THE  EXCITED  Ntl'LMAL.1 

1.  Great  is  the  fury  of  these  supernatural  ones. 

2.  He  will  carry  men  away  on  his  arms  and  torment  them. 

3.  He  will  devour  them  skin  and  bones,  crushing  flesh  and  bones  with  his  teeth. 


SONG  OF  NU'LMAL,  LA'LASIQOALA.2 

1.  Oh  wonder!  He  is  making  a turmoil  on  the  earth. 

2.  Oh  wonder!  He  makes  the  noise  of  falling  objects  on  the  earth. 

3.  Oh  wonder!  He  makes  the  noise  of  breaking  objects  on  the  earth. 


There  is  a chief  nu'LmaL, 
who  is  called  G*eqameq?o- 
LEla  or  O’maqVLEla.  It 
is  stated  that  nine  genera- 
tions ago  TsEx’ue'te,  chief 
of  the  Sl'sinLae,  had  a son 
who  was  a nu/LmaL.  He 
gave  a feast  and  said  that 
he  wanted  to  make  his  son  chief  of  all  the  noo'nLE- 
rnaLa  and  call  him  G^qameq’oLEla.  He  sent  him 
to  be  initiated  as  a nu'LmaL  once  more,  and  when 
he  came  back,  he  distributed  an  immense  amount  of 
property,  sea-otter  skin  blankets,  canoes,  slaves,  cop- 
pers, etc.  As  he  was  unable  to  bring  all  this  property 
into  the  house,  he  scattered  eagle  down,  which  sym- 
bolized the  property,  all  over  his  guests.  Since  that 
time  “property  is  the  lance  of  the  G-e'qameq’oLEla,” 
and  the  father  of  a new  G’e'qameqoLEla  must  dis- 
tribute all  his  property  at  the  time  of  the  initiation 
of  the  novice. 

The  Ha/wayadalaL  is  one  of  the  highest  fool 
dancers.  He  carries  a knife  in  his  right  hand,  and 
moves  it  along  his  neck  as  though  he  was  cutting 
it.  Then  he  changes  the  knife  to  his  left  hand,  and 
repeats  the  same  motion.  In  doing  so  he  stabs 
himself,  or  pretends  to  do  so,  actually  stabbing  his 
neck  ring,  which  is  filled  with  a bladder  containing 
blood. 

NA'NAQATJALIL. 


Fig.  106. 

MASK  OF  HA'MSHAMTSES, 
REPRESENTING  THE 
BEAR. 

Length,  15  inches ; white, 
red,  black. 

IV  A,  No.  1255,  Royal  Ethno- 
graphical Museum,  Berlin. 
Collected  by  A.  Jacobsen. 


The  dance  of  the  Na/naqaualiL  consists  in  very  rapid  motions  of  the 
body  from  right  to  left,  according  to  the  rhythms  of  the  song.  The 
trunk  is  slightly  inclined  forward,  the  hands  are  open  and  held  upward, 


Appendix,  page  706. 


Appendix,  page  707. 


472 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


with  the  palms  toward  the  front  and  at  about  the  height  of  the  shoul- 
ders. The  dancer  wears  a blanket  which  is  ornamented  with  feathers 
sewed  all  over  it  at  regular  intervals  of  about  10  inches,  and  a head  mask 
with  a long  beak  surmounting  his  forehead  (figs.  124  and  125,  p.  479). 


Fig.  107. 

MASK  OP  HA'MSHAMTSES  WITH  MOVABLE  JAW  AND  FOREHEAD. 


Height,  13J  inches ; black,  white,  red. 

IV  A,  No.  1239,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 

The  dance  is  sometimes  also  called  u the  dance  of  the  wind.”  The  lively 
motions  of  the  blanket  are  supposed  to  be  caused  by  the  winds  of 
the  higher  regions  of  the  atmosphere  (Plate  35).  The  dancer  is  initiated 

at  BaxbakualanuXsPwae’s  house.  He 
is  wPxsa. 

SONG  OF  nZ'NAQ  \UALIL.1 

1.  The  people  gather  all  around  you  to  see  your 
dance,  great  supernatural  one. 

2.  Many  gather  to  see  you,  great  supernatural 
one. 

3.  They  walk  right  up  to  your  house,  great 
supernatural  one,  asking  you  for  food. 

SONG  OF  NA'NAQAUALIL.2 

1.  Rows  of  wealth  are  standing  across  the  floor 
of  the  house.  That  is  your  song. 

2.  Everybody  will  obtain  wealth  from  you. 
Everybody  will  obtain  blankets  from  you. 
That  is  your  song. 

SONG  OF  nZ'NAQAUALIL.2 


Fig.  io8.  The  Awkk-’enox  first  obtained  the 

MASK  OF  HA'MSHAMTSES.  maSk  126,  p>  48Q)  frQm  the  HC'- 

From  a sketch  made  at  tbe  World’s  Columbian  Exposition  . -.•/>  . ,, 

lltsuq.  QVmEnakula,  a chief  of  the 
La'Lasiqoala  clan  G-e'xsEm,  married  an  Awl'k^enox  girl,  and  obtained 
in  this  way  the  right  to  the  mask.  The  He'iltsuq,  however,  did  not 


Appendix,  page  707. 


Appendix,  page  708. 


Reoort  of  U.  S.  National  Museum,  1895.— Boas. 


Plate  35. 


Na'naqaualil  Dance. 
From  a photograph. 


THE  KWAKIUTL  INDIANS. 


473 


want  tlie  La'Lasiqoala  to  have  it.  They  invited  the  Awl'k^enox  to  a 
place  named  Qoa'qume,  under  the  pretext  that  they  were  going  to 
give  a feast.  When  the  Awl'k-’enox  came, 
they  killed  many  of  them,  among  others 
the  father  of  Q’o'niEnakula’s  wife.  Thus 
the  He'iltsuq  recovered  the  mask,  and 
Q’o'mEnakula  could  not  obtain  it.  Later 
on  he  obtained  it  by  marrying  the  daugh- 
ter of  the  He'iltsuq  who  had  killed  his 
father-in-law.  The  mask  is  called  by  the 
Awkk’enox 
hahntsE  tso- 
we.  It  repre- 
sents the  ra- 
ven and  the 
ho'Xhok". 

Its  name 

and  song  show  its  connection  with  the 
ha'mats’a  ceremonies.  The  skulls  which 
are  attached  to  the  mask  commemorate 
the  war  which  was  waged  on  account  of  it. 


Fig. 109. 

MASK  OF  HA'MSHAMTSES,  REPRESENTING 
THE  RAVEN. 

From  a sketch  made  at  the  World’s  Columbian  Ex- 
position. 


Fig.  110. 

MASK  OF  HA'MSHAMTSES. 


From  a sketch  made  at  the  World’s  Columbian  Ex- 
position. 


1.  I am  coming,  crying  hap  on  tli©  beach!  I,  the  supernatural  one. 

2.  I am  coming  out  of  Wina/lag-ilis’s  canoe,  the  ha/mats;a  mask  on  my  forehead,  the 

winter  dance  mask  on  my  forehead. 


Figs.  127-128  show  masks 
very  much  like  the  preceding 
one.  They  also  belong  to 
the  dance  Xa/naqaualiL.  On 
page  410  was  told  the  legend 
of  the  origin  of  the  sunrise 
dance  of  the  Koskimo.  Figs. 
129  to  133  (pp.  484-486),  show 
the  masks  and  ornaments 
which  the  Kuexala'lagdlls  ob- 
tained from  Xenalaats’eqa. 

Fig.  134  (p.  488)  shows  the 
ornaments  of  another  Na/na- 
qaualiL. 


ha/?maa.t 


Fig.  111. 


HEAD  RING,  NECK  RING,  AND  ARM  RINGS  OF  BEAR  DANCER. 
This  mask  was  purchased  IV  A,  Nos.  934,  557,  and  935,  Royal  Ethnographical  Museum,  Berlin.  Col- 
from  the  La'LaSiqOala,  who  lected  by  A.  Jacobsen. 

called  it  qe'sqesk-ane,  the  panther.  They  obtained  it  by  marriage  from 
the  Kwakiutl,  who  used  .it  in  the  winter  ceremonial.  It  represented  the 
fabulous  being  ha/hnaa,  a voracious  carnivorous  monster  which  lives 


See  fig  135,  p.  489,  and  Appendix,  page  708. 


474 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


in  the  woods.  The  novice  who  is  to  acquire  this  dance  disappears  in 
the  woods.  When  he  returns,  he  bites  the  people,  not  like  the  ha/mats’a, 
but  imitating  the  voracious  ha/’maa.  His  cedar  bark  rings  are  like 
those  of  the  bear  dancer,  but  smaller.  His  cry  is  “hup ! hup !”  When 
returning  from  the  woods,  he  does  not  wear  hemlock,  but  red  cedar 
bark  ornaments.  The  dancer’s  name  as  member  of  the  seal  society  is 
K-’e'k-aLElayu  (of  whom  all  are  afraid);  his  que'qutsa  name  is  ALtsala 
(coming  ashore  from  the  middle  of  the  lake).  His  song  is  as  follows: 

1.  There  is  ha/’maa.  We  shall  not  live,  for  he  is  there. 

2.  Where  he  is,  there  is  danger. 

3.  Where  shall  we  hide? 

4.  Let  us  hide  underground.  Let  us  cover  ourselves  with  dirt,  for  the  terrible 

ha/’maa  is  going  around  the  world. 


HEAD  RINGS  AND  NECK  RING  OF  THE  BEAR  DANCER,  KOSKIMO. 
a , First  head  ring ; b,  head  ring  worn  in  feasts ; c,  neck  ring. 
Cat.  Nos.  175515,  175516,  175517,  U.  S..N.  M.,  collected  by  F.  Boas. 


THE  SALMON.1 

This  dance  belongs  to  the  La'Lasiqoala.  The  novice  disappears  and 
stays  in  the  woods  several  months.  When  he  is  brought  back,  the 


fig.  136,  page  490,  and  Appendix,  page  709. 


THE  KWAKIUTL  INDIANS. 


475 


people  hide  all  the  eagle  down,  the  symbol  of  wealth, 
but  put  it  on  when  he  enters,  indicating  that  the  salmon 
brings  affluence.  He  is  greeted  with  the  cry  “ haiolioV’ 
The  amount  of  property  distributed  by  the  dancer’s 
father  is  as  large  as  that  needed  for  initiating  a ha/- 
mats’a.  His  dance  is  intended  to  imitate  the  motions 
of  the  jumping  salmon.  He  holds  his  head  sideways 
and  dances  with  stiff  legs,  the  feet  remaining  at  the 
same  spot,  the  body  turning  first  to  the  right  then  to 
the  left.  His  forearms  are  bent  upward,  the  open  palms 
stretched  forward.  Following  is  his  song: 

1.  Many  salmon  are  coming  ashore  with  me. 

2.  They  are  coming  ashore  to  you,  the  post  of  our  heaven. 

3.  They  are  dancing  from  the  salmon’s  country  to  the  shore. 

4.  I come  to  dance  before  you  at  the  right-hand  side  of  the  world, 

overtowering,  outshining,  surpassing  all;  I,  the  salmon. 

SONG  OF  A SALMON  DANCER.1 

1.  The  salmon  came  to  search  for  a dancer. 

2.  He  came  and  put  his  supernatural  power  into  him. 

3.  You  have  supernatural  power.  Therefore  the  chief  of  the 

salmon  came  from  beyond  the  ocean.  The  people  praise  you, 
for  they  cannot  carry  the  weight  of  your  wealth. 

THE  SALMON  WEIR  DANCE.2 

The  weir  in  tbe  legends  of  the  Kwakiutl  is  a toy  of 
the  salmon.  The  salmon  weir  dancer  is  initiated  by  the 
salmon.  The  dance  belongs  at  present  to  the  Maa'rn- 
tag'ila,  who  obtained  it  by  marriage  from  the  Awl'- 
k-'enox.  The  novice  remains  in  the  woods  for  about 
one  month.  When  he  returns,  he  is  naked.  His  body 
is  smeared  with  the  juice  of  a plant,  which  makes  it 
very  slippery.  His  cedar  bark  ornaments  are  similar 
to  those  of  the  ha/mats’a,  but  much  smaller.  The 
dancer  first  rests  on  one  leg,  his  body  bent  almost  hori- 
zontally at  one  side,  the  other  leg  extended  to  the  other 
side.  Then  he  changes  to  the  other  leg,  bending  his 
body  to  the  other  side  and  extending  his  other  leg. 
Here  is  his  song: 

1.  I went  to  work  at  my  salmon  weir.  When  I took  out  the  sal- 

mon, their  eyes  were  picked  out  by  the  crows. 

2.  (Speaking  to  the  chief  of  the  tide:)  Stand  still,  chief!  You 

who  makes  the  tide  rise,  who  causes  whirlpools  where  the 
tides  meet,  whose  skirt  of  seaweeds  makes  the  tide  rise. 

3.  (Chief  of  the  tide  says:)  Cry  hap!  supernatural  one!  Cry 

hap! 


Fig.  113. 

LANCE  OF  NU'LMAL. 

Length,  64  inches; 

brown,  red,  green. 
IV  A,  No.  1596,  Royal  Ethno- 
graphical Museum,  Berlin. 
Collected  by  A.  Jacobsen. 


Appendix,  page  709. 


Appendix,  page  710. 


476 


REPORT  OF  NATIONAL  MUSEUM,  1895. 
WASP  DANCE — HA'MASELAL.1 


According  to  the  legend,  this  dance  belongs  originally  to  the 
Ts’E'nts’Enx-q/aio,  to  one  of  whose  ancestors  the  chieftainess  of  the 
Wasps  appeared.  There  is  only  one  person  at  a 
time  owning  this  dance.  I obtained  only  one  line 
of  the  song: 

1.  Do  not  let  us  go  near  the  house  of  the  wasp.2  There  is 
great  danger. 

KU'NXULAL,  thunder  bird  dance.3 

1.  You  are  swooping  down  from  heaven,  pouncing  upon  a 
whole  tribe. 

2.  You  are  swooping  down  from  heaven,  burning  villages, 
killing  everything  before  you,  and  the  remains  of  the 
tribes  are  like  a rest  of  your  food,  great  thunder  bird; 
great  thunderer  of  our  world. 

3.  You  are  swooping  down  from  heaven,  going  from  one 
tribe  to  the  other.  You  seize  with  your  talons  the 
chiefs  of  the  tribes. 

KU'NXITLAL,  LA'LASIQOALA 
SONG.3 

This  will  be  the  dance  of  the 
thunderbird.  Wonderful  will 
be  the  dance  of  the  thunder  bird. 


Pig.  114. 

LANCE  OF  NU'LMAL. 

Length,  52  inches;  red, 
black. 

IV  A,  No.  872,  Royal  Ethnographical 
Museum,  Berlin . Collected  by  A . 
Jacobsen. 


Pig.  115. 

LANCE  OF  NU'LMAL. 
From  a sketch  made  at 
the  World’s  Columbian 
Exposition, 


QO'LbC,4  LA'LASIQOALA  SONG.3 


Pig. 116. 

CLUB  OF  NU'LMAL. 
Length,  10J inches;  blue, 
red. 

IV  A,  No.  863,  Royal  Ethnograph- 
ical Museum,  Berlin.  Collected 
by  A.  Jacobsen. 


1.  Do  not  let  us  drive  him  away,  the  bird  of  our  chief. 

2.  The  real  Qo'ldc  who  is  sitting  in  the  middle  of  our  world. 


1 See  fig.  137,  page  491,  and  Appendix,  page  710. 
3 Appendix,  page  711. 


2 The  wasp  nest. 

4 A species  of  eagle. 


Plate  36. 


The  Walas’axa'. 


THE  KWAKIUTL  INDIANS. 


477 


The  whistle  (fig.  139,  p.  492)  is  used  by  the  dancer  to  imitate  the 
sound  of  the  bird  represented  by  the  mask  (fig.  138,  p.  491). 

THE  WOLF.1 

1.  I go  to  the  seat  of  the  chief  of  the  wolves.  Yihihi  ahahi. 

2.  I am  taken  to  the  middle  of  the  rear  of  the  house  of  the  wolves.  Yihihi  ahahi. 

3.  Thus  I obtained  all  the  supernatural  powers  of  the  wolves.  Yihihi  ahahi. 

WOLF  SONG,  LA'LASIQOALA.1 

1.  I come  barking  on  the  beach.  I make  the  noise  of  distributions  of  blankets,  for 

you  will  be  as  great  as  your  ancestor,  the  first  one  of  all  the  chiefs. 

2.  Wonderful  are  the  words  of  our  chief,  the  wolf.  It  is  said:  We  shall  assemble 

with  our  children,  asking  him  to  give  blankets,  to  give  blankets  to  each  tribe, 
even  to  all  the  tribes  of  the  world.  Yihei. 

3.  Let  us  try  to  pacify  onr  chief,  else  he  will  swing  his  death  bringer  and  cut  short 

our  lives,  and  we  shall  fall  before  the  chief  of  the  wolves.  Yihei. 

WALAS’AXA7.2 

Tbe  Walas’axa'  is  a peculiar  wolf’s  dance.  It  belongs  to  the  legend 
of  O’maxt’a/laLe  (see  p.  382),  who  obtained  it  by  marrying  the  daughter 
of  Qawatiliqala.  The  Walas’axa'  is  danced  in 
the  following  way:  All  the  men  of  the  tribe 
dress  in  blankets  and  headdresses  representing 
the  wolf.  They  hide  behind  a curtain  whicji 
stretches  across  the  rear  of  the  house,  and  when 
the  singers  open  their  song,  come  forth  from  the 
right-hand  entrance  of  the  curtain.  There  two 
criers  are  stationed,  who  hold  staffs  and  an- 
nounce their  arrival.  As  soon  as  a dancer  ap- 
pears, he  turns  and  proceeds  on  a march  around 
the  fire.  The  fists  are  ' held  forward,  the 
thumbs  erect  (Plate  36).  When  the  dancers 

arrive  in  front  of 
the  door,  they 
turn  once  and 
then  proceed 
around  the  fire, 

disappearing  again  behind  the  curtain, 
at  the  left-hand  side.  When  all  have 
disappeared,  two  more  circuits  are  made 
in  the  same  manner.  In  the  fourth  cir- 
cuit they  stop  when  all  have  come  out. 
They  squat  down  on  hands  and  feet,  imi- 
tating the  motions  of  wolves.  They  rest 
on  their  toes  and  knuckles  and  turn 
their  heads  to  the  right  and  to  the  left. 
In  fig.  140  (p.  493)  and  in  Plate  37  a number  of  the  masks  used  in  the 
Walas’axa'  are  shown.  Some  of  these  claim  particular  interest,  as  they 

Appendix,  page  711.  2 The  great  one  from  above. 


Fig. 118. 

MASK  OP  NU'LMAL. 


Height,  9|  inches ; black,  red. 

IV  A,  No.  1297,  Royal  Ethnographical  Museum,  Berlin. 
Collected  by  A.  Jacobsen. 


Fig.  117. 


MASK  OP  NU'LMAL. 
Cat.  No.  2659,  U.  S.  N.  M. 
Wilkes  Expedition. 


478 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


were  collected  on  Cook’s  expedition,  and  show  that  no  change  of  the 
type  of  these  masks  has  taken  place  during  the  last  century.  The  teeth 
of  the  mask  (Plate  37)  are  made  of  dentalia,  and 
the  trail  is  carefully  worked  of  cedar  bark. 

THE  LO/KOALA. 

There  is  still  another  wolf  dance,  which  is  derived 
from  traditions  of  the  initiation  of  men  by  the  wolves. 
The  tradition  underlying  this  dance  is  that  of  Mink 
and  the  wolves.  The  sons 
of  the  chief  of  the  wolves 
were  preparing  to  be  initi- 
ated. Mink  found  and 
killed  them  and  thus  ob- 
tained their  names  and 
places.  He  came  back 
wearing  the  wolf’s  scalp  as 
a head  mask.  Three  times 
he  danced  around  the  fire,  covering  his  face  and 
his  head  with  his  blanket.  Then  the  fourth 
time  he  uncovered  it  and  thus  showed  that  he 
had  killed  the  wolves.  All  the  animals  tried  to 
kill  him,  but  were  unable  to  do  so.  I shall 
give  the  full  legend  later  on.  Mink,  whose 
que'qutsa  name  is  K*ex*,  thus  obtained  the 
wolf’s  name,  Nun,  as  a member  of  the  seal  society,  and  also  the  wolf’s 
Lo'koala  or  supernatural  power.  This  tradition  belongs  to  the  clan 


Pig. 119. 

MASK  OF  Ntr'LMAL. 
Height,  14  inches;  black, 
red. 

IV  A,  No.  1289,  Royal  Ethnograph- 
ical Museum,  Berlin.  Collected 
by  A.  Jacobsen. 


Pig. 120. 

MASK  OF  NU'LMAL. 
Height,  12  inches ; white,  black, 
red. 

IV  A,  No.  1338,  Royal  Ethnographical  Mu- 
seum, Berlin.  Collected  by  A.  Jacobsen. 


Pig.  121. 

MASK  OF  NU'EMAL. 

Height,  Ilf  inches;  black,  white,  red. 


IV  A,  No.  1292,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 


Pig.  122. 

MASK  OF  NU'LMAL. 


From  a sketch  made  at  the  World’s 
Columbian  Exposition. 


La'alaxsent’aio,  and  K*ex*  and  Nun  are  the  two  names  of  the  Lo'koala 
dancer.  When  he  appears  as  que'qutsa,  he  wears  the  frontlet  (xdsTwae) 
representing  the  wolf,  nunqEmL  or  Lo'koalaqEmL  (fig.  140,  p.  493).  His 


Plate  37. 


Report  of  U.  S.  National  Museum,  1895.— Boas. 


Wolf  Mask. 

British  Museum.  Collected  by  Captain  Cook. 


THE  KWAKIUTL  INDIANS. 


479 


song  is  intended  to  excite  tlie  noo'nLEmaLa,  who  are.  considered  as  the 
friends  of  the  wolf  chiefs  whom  K*ex*  had  killed. 

They  are  excited  by  the  mention  of  the  words  “mid- 
dle of  the  face,”  i.  e.,  nose,  in  the  following  song: 

Mink  put  on  his  head  the  middle  of  the  face  of  .NoiFa- 
qalag’ilis.1 

Before  singing,  the  dancer  goes  three  times 
around  the  fire,  covering  his  head  with  his  blanket. 

Then  he  unfolds  it.  He  wears  the  headdress. 

His  cheeks  are  each  painted  with  a black  circle, 
the  inside  of  which  is  red.  He  puts  his  hands 
flat  to  his  nose  (both  in  the  medial  line,  one  close 
to  the  other),  dances,  and  sings  the  preceding 
song.  Then  the  noo'nLEmaLa  all  try  to  attack 
him  while  the  que'qutsa  protect  him. 


Fig.  123. 

MASK  OP  NU'LMAL. 


TS’O'NOQOA. 


IV  A,  No.  524,  Royal  Ethnograph 
ical  Museum,  Berlin. 
Collected  by  A.  Jacobsen. 


Although  the  Ts’o'noqoa  is  not  an  animal,  but  a fabulous  being, 

as  described  before,  this 
seems  the  most  appropri- 
ate place  to  mention  her 
dance  and  songs.  She  is 
a member  of  the  seal  soci- 
ety. She  is  represented 
as  always  asleep.  When 
the  dancer  enters  the 
house,  a rope  is  stretched 
from  the  door  to  her  seat, 
along  which  she  feels  her 
Fig.  124.  way.  She  does  not  dance, 

head  mask  op  na'naqaualil,  set  with  bird  skins.  but  walks  once  around  the 
(Scale  i-)  fire,  attired  in  the  com- 

IV  A,  No.  566,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen.  , . , . „ -.  . , 

plete  skm  of  a bear,  which 
fits  over  her  body  and  to  which  her  mask  is  attached.  Figs.  13, 141-144 
(pp.372,  494-496)  represent  a series 
of  typical  Ts’o'noqoa  masks.  The 
last  one  was  obtained  from  the  La'- 
Lasiqoala.  Her  song  is  as  follows: 2 

1 . I was  a little  too  late  to  witness  the 

blood  of  his  victims,  to  see  the 
putrid  heap  of  those  whom  he  had 
killed,  to  see  the  remains  of  the 
food  of  the  warrior  of  the  world. 

2.  He  was  made  great ; he  was  made  wild 

by  his  father.3  He  will  not  take 
pity.  He  will  kill.  He  comes  to 
make  poor  the  tribes. 


Fig.  125. 

HEAD  MASK  OP  NA'NAQAUALIL,  SET  WITH  BIRD  SKINS. 
From  a sketch  made  at  the  World’s  Columbian  Exposition. 


1 This  is  the  name  of  a nuTmai.  The  name  of  the  person  who  is  to  be  excited  is 

inserted  here.  See  Appendix,  page  712. 

Appendix,  page  713.  3 When  his  father  caused  him  to  be  initiated. 


480 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


Following  is  another  TsVnoqoa  song  of  the  Kwakiutl : 1 

1.  She  is  the  great  TsVnoqoa  who  is  trying  to  carry  men  on  her  arms,  who  is  causing 
nightmare,  who  is  making  us  faint. 

2.  Great  bringer  of  nightmares ! Great  one  who  makes  us  faint ! Terrible  TsVnoqoa 


Fig. 126. 

HEAD  MASK  OF  NA'NAQAUALIL. 

Length,  27|  inches ; black,  white,  red. 

IV  A,  No.  1244,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 


IA'K-tM. 

The  Ia'kum  (badness)  is  a water  monster  which  obstructs  rivers,  and 
endangers  lakes  and  the  sea,  and  swallows  and  upsets  canoes.  I did  not 
learn  any  details  in  regard  to  its  dance.  The  Ia'k-im  appears  also  on 
ha'mshamtsEs  mask,  for  instance  on  the  mask  shown  in  fig.  102,  p.  467. 
The  form  in  which  it  is  represented  is  quite  variable  because  all  sea 
monsters  are  called  by  this  term.  Fig.  102  is  the  wide  mouthed  mon- 


THE  KWAKIUTL  INDIANS. 


481 


ster  ts’e'gic  which  destroyed  whole  tribes.  In  other  legends  monsters 
are  described  which  are  called  ^sea  bears/’  u monster  herrings,”  and 


Fig.  127. 

HEAD  MASK  OF  NA'NAQAUALIL. 

Side  view  of  the  specimen  shown  in  the  preceding  figure. 

Length,  32^  inches;  breadth,  8J  inches;  height,  inches;  black,  red,  white, 

IV  A,  No.  1245,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 


many  others.  Fig.  145  (p.  496)  represents  the  mask  of  the  Ia'k-im.  Its 
song,  which  was  obtained  from  the  La'Lasiqoala,1  is  given  on  p.  482. 


NAT  mus  95 31 


Appendix,  page  713.  . 


482  REPORT  OF  NATIONAL  MUSEUM,  1895. 

SONG  OF  THE  IA'K’Im. 

1.  The  great  Ia'k'im  will  rise  from  below. 

2.  He  makes  the  sea  boil,  the  great  Ia'kdm.  We  are  afraid. 

3.  He  will  upheave  the  seas,  the  great  Ia'kim.  We  shall  be  afraid. 

4.  He  will  throw  blankets  from  out  of  the  sea,  the  great  Ia'k-im. 

5.  He  will  distribute  blankets  among  all  tribes,  the  great  Ia'kdm. 

6.  We  fear  him,  the  great  Ia'k-im. 

SONG  OF  THE  Si'SIUL  DANCE,  LA'LASIQOALA.1 

1.  Great  is  the  sI'siuL  dance  of  our  chief. 

2.  They  say  by  his  dance  he  will  cut  in  two  a whole  tribe.2 

AO'MALAL,  OR  CH1EFTAINESS  DANCE. 

I did  not  see  the  dance  and  do  not  know  any  details  as  regards  initi- 
ation, etc.  I received  the  following  description : The  Ao'malaL  is  said 

to  sit  on  a stage  in  front  of  the  rna/wiL.  She  has  the  chieftainess’s 
ornaments  of  abalone  shells  in  her  ears  and  attached  to  her  nose.  She 
does  not  move,  but  is  merely  shown  behind  the  curtain  while  the  people 
sing  her  song.1  It  is  probable  that  this  dance  is  a recent  introduction 
from  the  north.  In  the  winter  ceremonial  of  the  Tsimsshian  the  dancer 
appears  in  the  manner  here  described  on  a stage,  and  after  the  song 
the  stage  is  hidden  again  behind  a curtain. 

SONG  OF  AO/MALAL. 

1.  We  are  told  that  our  great  chief  lets  his  (laughter  dance  as  chieftain  ess. 

2.  Great  is  the  song  of  the  chieftainess,  great  is  the  lia/mats’a  song  of  the  super- 

natural chieftainess. 

3.  At  the  place  of  the  great  supernatural  chieftainess  is  heard  the  sound  of  copper, 

the  ringing  of  copper. 

GHOST  DANCE. 

I stated  in  Chapter  YI3  how  the  ghost  dance  of  the  L?a/sq’enox 
originated.  There  are  a number  of  traditions  of  similar  character  ex- 
plaining the  origin  of  the  ceremony  among  various  tribes.  All  these 
traditions  contain  descriptions  of  a visit  to  the  world  of  the  ghosts, 
which  is  believed  to  be  located  under  our  world.  Then  the  visitor  was 
given  the  secrets  of  the  ghost  dance  and  other  magical  gifts.  This 
dance  is  a mimical  representation  of  a visit  to  the  lower  world. 
The  dancer  wears  the  head  ring  and  neck  ring,  figs.  146,  1474  which, 
are  set  with  skulls,  indicating  that  the  ghosts  have  initiated  him. 
Elaborate  preparations  are  made  for  this  dance.  During  the  days  pre- 
ceding it  the  members  of  the  seal  society  hold  close  watch  that  nobody 
enters  the  dancing  house  in  which  they  remain  assembled.  Then  a 
ditch  is  dug  behind  the  fire,  and  speaking  tubes  made  of  kelp  are  laid 
under  the  floor  of  the  house  so  as  to  terminate  in  the  fire.  The  ghost 
dancer  appears,  led  by  a rope  by  one  attendant.  He  goes  around  the 
fire  four  times,  summoning  the  ghosts.  After  he  has  made  the  fourth 

1 Appendix,  page  713.  2 He  will  destroy  them.  3 Page  408.  4 Page  497. 


THE  KWAKIUTL  INDIANS. 


483 


circuit  he  slowly  disappears  in  the  ditch  near  the  fire.  The  people  try 
to  hold  him  by  the  rope,  but  apparently  he  sinks  out  of  reach.  Then 
many  voices  are  heard  coming  from  out  of  the  fire — actually  the  voices 
of  people  hidden  in  the  bedrooms  who  speak  through  the  kelp  tubes.  It 
is  announced  that  the  ghosts  have  taken  the  dancer  away,  who  will 
return  after  a certain  number  of  days.  When  the  time  of  his  return  is 
at  hand,  another  dance  is  held.  A 
carving  representing  a ghost  is  seen 
to  rise  from  out  of  the  ground  car- 
rying the  dancer. 

SONG  OF  THE  GHOST  DANCER.1 

1.  I went  down  to  the  under  world  with 

the  chief  of  the  ghosts.  Therefore  I 
have  supernatural  power. 

2.  The  chief  of  the  ghosts  made  me  dance. 

Therefore  I have  supernatural  power. 

3.  He  put  a beautiful  ornament  on  to  my 

forehead.  Therefore  I have  super- 
natural power. 

The  ghost  dancer  of  the  La'La- 
siqoala  wears  a head  ring  set  with 
four  feathers  and  a thick  veil  of 
cedar  bark  falling  over  his  face 
(tig.  148,  p.  501). 

I have  two  of  his  songs : 

I. 

1.  I came  to  see  you.  Why  are  you  making  an  uproar,  ghosts?  you  who  take  away 
man’s  reason.  You  are  coming  up  from  the  sea  and  call  our  names  in  order  to 
take  our  senses,  you  famous  ones  who  take  away  man’s  reason.1 

II. 

1.  You  sent  us  everything  from  out  of  the  under  world,  ghosts ! who  take  away  man’s 

senses. 

2.  You  heard  that  we  were  hungry,  ghosts!  who  take  away  man’s  senses. 

3.  We  shall  receive  plenty  from  you,  ghosts!  who  take  away  man’s  senses.1 

MA/rfEM. 

I have  told  the  legend  of  the  Ma/tEm  in  the  preceding  chapter.2  The 
dancer,  when  his  song  is  sung,  appears  first  on  the  roof  of  the  house, 
perfectly  naked.  Five  pieces  of  wood,  which  are  covered  with  mica 
and  cut  in  the  form  of  hexagonal  prisms  in  the  shape  of  quartz  crytals, 
are  fastened  along  the  medial  line  of  his  head.  They  are  attached  to 
a thin  wooden  frame,  which  is  shaped  according  to  the  curvature  of  the 
head  and  hidden  in  the  hair.  The  frame  consists  of  a medial  piece 
which  is  attached  to  a ring  and  held  by  two  crosspieces.  All  of  these 


Fig.  128. 

HEAD  MASK  OF  NA'NAQAUALIL,  REPRESENTING  THE 
HO'XHOKW 

Length,  19  inches;  black,  white,  red. 

IV  A,  No.  1 330,  Royal  Ethnographical  Museum,  Berlin.  Collected 


Appendix,  page  714. 


Page  411. 


484 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


are  given  their  proper  shape  by  means  of  steaming.  As  the  song  pro- 
ceeds, the  dancer  jumps  down  from  the  roof  to  the  top  of  the  bedrooms 
in  the  rear  of  the  house,  and  from  there  to  the  floor.  He  holds  his 
hands  close  to  the  back  of  his  thighs  and  runs  with  short  steps  around 
the  fire. 

Here  is  a song  of  Ma/tEm. 

1.  I was  taken  to  the  foot  of  the  quartz  mountain. 

2.  I was  taken  to  the  foot  of  the  mountain  from  where  the  quartz  came  rolling  down 

to  me. 

3.  It  flew  with  me  and  took  me  to  the  end  of  the  world,  the  cloud,  the  child  of  Ma/tEm. 

The  following  song  of  the  clan  Ts’e'- 
ts’eLoalaqame,  the  origin  of  which  is 
derived  from  a tradition,  is  said  to  refer 
partly  to  Ma/tEm,  although  the  connec- 
tion has  not  become  clear  to  me. 

1.  I will  tell  about  olden  times.  Long  ago 
Wma'lag'ills  took  me  to  see  the  thing  upon 
which  he  was  blowing  water. 

2.  Therefore  I tell  with  a loud  voice : Long  ago 
Wlna'lag’ilis  took  me  to  see  the  thing  upon 
which  he  was  blowing  water. 

NA'XNAK'AQEML  AND  ME'lLA. 

Two  dances  derive  their  origin  from 
the  heavens, — the  Na'xnak'aqEmL  and 
Me'iLa.  I have  already  told  the  legend 
of  both  (p.  413).  The  Me'iLa  dance  and 
the  ornaments  of  the  dancer  are  shown 
in  Plate  38  and  fig.  149  (p.  501).  His  club 
(kue'xayu),  the  gift  which  he  received 
in  heaven,  represents  the  sI'siuL.  His 
cedar  bark  ornament  is  made  of  red  and 
white  cedar  bark.  The  large  flat  attach- 
ments in  front  represent  the  Pleiades. 
He  carries  in  place  of  a rattle  a small 
clapper  (fig.  150,  p.  502). 

The  Na/xnak'aqEmL  wears  an  immense  mask,  the  mouth  of  which  is 
made  so  that  it  can  open  wide.  Therefore  it  is  also  called  ha/xdlaqain 
(the  yawning  face).  The  opening  mouth  means  that  the  day  is  yawning 
when  the  dawn  appears.  A mask  of  this  kind  was  among  the  collec- 
tions at  the  World’s  Columbian  Exposition,  and  has  been  transferred 
to  the  Field  Columbian  Museum.  The  song  belonging  to  this  mask  is 
as  follows:1 

1.  You  will  arise,  you  who  you  are  known  all  through  the  world. 

2.  You  will  arise,  you  who  you  are  famous  all  through  the  world. 

3.  You  will  arise;  before  you  sinks  down  your  rival. 

4.  It  is  said  that  I buy  food  for  my  feast  even  from  my  rival. 


FIRST  HEAD  RING  OF  NENALAATS’EQA. 
Koskimo. 

Cat.  No.  175494,  U.  S.  N.  M.  Collected  by  F.  Boas. 


Appendix,  page  714. 


Report  of  U,  S.  National  Museum,  1895. — Boas. 


Plate  38. 


Dance  of  Me'ila. 

From  a photograph. 


THE  KWAKIUTL  INDIANS. 


485 


SECOND  I 


Fig. 130. 

RING  OF  NENALAATS’EQA. 
Koskimo. 

Cat.  No.  175496,  U.  S.  N.  M.  Collected  by  F.  Boas. 

All  of  a 


The  opening  phrase  of  this  song  means  that  the  dancer  for  whom  the 
words  of  this  song  were  modified  had  taken  the  place  of  her  deceased 
brother,  who,  therefore,  in  her  had  resurrected. 

Finally,  I will  describe  the  dances  instituted  by  Wlna'lag-ilis,  namely 
the  ma'maq’a,  t’o'X’uit,  hawi'nalaL,  and  a/’mlala.  All  of  these  wear 
ornaments  of  hemlock,*  no  red 
cedar  bark.  They  are  all  con- 
sidered war  dances. 

ma'maq’a. 

The  ma/maq’a,  or  thrower,  per- 
forms a dance  in  which  he  is  sup- 
posed to  throw  disease  into  the 
people.  He  enters  the  house  naked 
except  for  a head  ring,  neck  ring, 
waistband,  bracelets,  and  anklets  of 
hemlock.  His  hands  are  laid  flat 
to  his  haunches.  Thus  he  runs  with 
short,  quick  steps  around  the  fire, 
looking  upward  with  sudden  move- 
ments of  his  head,  first  to  the  right, 
then  to  the  left.  When  doing  so, 

he  is  looking  for  his  supernatural  power  to  come  to  him. 
sudden  he  claps  his  hands  together  and  holds  the  palms  flat  one  to 
the  other.  Thus  he  moves  his  hands  somewhat  like  a swimmer,  up 
and  then  in  a long  circle  forward,  downward,  and,  drawing  them  close 
to  his  body,  up  again.  Xow  he  is  holding  his  supernatural  power,  “the 

worm  of  the  ma/maq’a,”  be- 
tween his  palms.  During  all 
this  time  he  is  continuing  his 
circuit  in  short,  quick  steps, 
but  he  no  longer  looks  up- 
ward. Gradually  he  takes  his 
palms  apart,  and  between  them 
is  seen  the  “ ma/maq’a’sworm.” 
This  is  either  a small  carved 
sI'siuL,  or  snake,  or  it  is  a stick 
which  is  covered  with  bark. 
The  stick  consists  of  several 
tubes  which  fit  into  each  other, 
so  that  tliedancercan  lengthen 
and  shorten  it.  While  the  worm  is  thus  seen  to  increase  and  decrease  in 
size,  the  ma/maq’a  resumes  his  motions  of  throwing,  moving  the  closed 
palms  in  circles,  as  described  above.  Suddenly  hp  seems  to  throw  the 
implement  which  he  is  holding.  At  once  all  the  people  stoop  and  hide 
under  their  blankets.  The  implement  has  disappeared.  He  repeats 
the  performance.  The  second  time  when  he  throws  the  worm,  it  is 


Cat.  No.  175497,  U.  S.  N.  M.  Collected  by  F.  Boas. 


486 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


seen  to  fly  in  the  air.  Actually  there  is  a second  one  of  the  same 
shape  as  the  implement  that  was  seen  in  the  ma/maq’a’s  hands.  This 
is  attached  to  a long  string,  which  is  stretched  across  the  rear  of  the 
house  where  the  seal  society  are  sitting.  Two  men  are  holding  the 
string,  one  on  each  side  of  the  house,  and  hidden  in  the  bedrooms.  By 
pulling  the  rope  and  tightening  and  slackening  it  the  worm  is  seen  to 

fly  up  and  down  and  from  the  right  to 
the  left.  While  it  is  flying  there  the 
ma/maq’a  moves  to  the  right  and  to  the 
left  in  front  of  it,  his  hands  stretched 
forward,  the  palms  upward,  the  elbows 
to  the  side,  always  moving  with  short, 
quick  steps.  Finally  the  flying  worm 
disappears  and  the  ma/maq’a  catches 
it  again.  Then  he  resumes  his  motions 
of  throwing  and  finally  seems  to  throw 
it  into  himself.  He  almost  collapses, 
and  tries  to  rid  himself  of  the  disease- 
bringing object  by  vomiting.  Blood  is 
seen  to  flow  from  his  mouth  and  down 
his  whole  body.  This  is  sometimes  pro- 
cured by  biting  the  inside  of  the  cheek  or  by  breaking  a small  bladder 
containing  blood  which  the  dancer  holds  in  his  mouth.  After  pro- 
longed efforts  he  vomits  the  worm.  At  once  he  is  hale  and  well  and 
proceeds  in  his  dance.  Now  he  throws  the  fourth  time.  The  worm  flies 
into  some  of  the  people,  wbo  at  once  jump  up  and  rush  toward  the  fire, 
where  they  fall  down  lifeless. 

Blood  is  streaming  out  of  their 
mouths.  The  ma/maq’a  con- 
tinues to  dance  around  them, 
blows  upon  them  until  finally 
they  are  carried  away  like 
dead.  The  ma/maq’a  follows 
them  and  either  he  or  the 
shaman  restores  them  to  life. 

During  all  this  ceremony  the 
singers  beat  the  boards  rapidly 
and  silently,  only  stopping 
when  the  ma/maq’a  does  not 
dance.  His  song  is  sung  after 
he  has  finished  his  dance.  At  the  close  of  the  dancing  season  the 
ma/maq’a  indemnifies  his  victims  by  the  payment  of  a few  blankets. 

Sometimes  instead  of  throwing  the  disease,  he  throws  a harpoon  head. 
There  are  also  two  of  these  used  in  the  ceremony.  One  is  held  and 
shown  by  the  ma/maq’a.  It  is  a real  point  of  a sealing  harpoon.  The 
other  has  no  blade,  but  is  provided  with  two  hooks  to  hook  it  to  the 


' Fig.  133. 

NECK  KING  OF  NENALAATS’EQA. 
Koskimo. 

Cat.  No.  175495,  U.  S.  N.  M.  Collected  by  F.  Boas. 


Fig. 132. 

HEAD  RING  OF  SPEAKER  OF  NENALAATS’EQA. 
Koskimo. 

Cat.  No.  175509,  U.  S.  N.  M.  Collected  by  F.  Boas. 


THE  KWAKIUTL  INDIANS. 


487 


skin.  The  person  with  whom  the  ma/maq’a  has  an  under stan din g, 
hooks  this  second  harpoon  head  to  his  skin  aud  opens  at  the  same  time 
a small  bag  containing  blood,  which  seems  to  flow  from  the  wound. 
Later  on  the  ma/maq’a  pulls  it  out  and  exchanges  it  quickly  for  his  own 
harpoon  head. 

There  are  still  other  performances  of  the  ma/maq’a,  one  of  which 
consists  in  throwing  a number  of  ducks  into  a kettle  that  is  filled  with 
water.  I am  told  that  wooden  carved  ducks  are  tied  to  the  bottom  of 
the  kettle  and  released  by  a helper  as  soon  as  the  ina/maq’a  throws. 


ma'maq’a  song.1 

1.  Go  and  look  everywhere  for  his  supernatural  power,  for  his  supernatural  power. 

Among  the  La'Lasiqoala  the  ma/maq’a  wears  cedar  bark  ornaments 
as  shown  in  figures  151, 152,  pp.  502,  503.  His  dance  is  the  same  as  that 
of  the  Kwakiutl  ma'maq’a.  Following  is  one  of  their  ina/maq’a  songs:1 

1.  Behold  his  great  supernatural  power ; ia. 

2.  Be  careful  in  swinging  your  sacred  implement. 

3.  Truly  it  kills  the  people,  so  that  they  have  no  time  to  escape. 

4.  Truly  the  supernatural  power  cuts  short  their  lives. 


t’o'x’uIt. 


The  t’o'X’uit  is  almost  always  danced  by  women.  The  dancer  is 
decorated  in  the  same  way  as  the  ma/maq’a.  She  enters  singing  the 
t’o'X’uit  cry : 


Ya  ya  ye  ya  ya  ye 


She  holds  her  elbows  close  to  her  sides,  the  forearms  forward,  palms 
upward.  She  walks  around  the  fire  limping,  raising  both  hands 
slightly  with  every  second  step,  as  though  she  was  trying  to  conjure 
something  up  from  underground.  She  is  followed  by  four  attendants. 
Her  spirit  is  in  most  cases  the  si'siuL,  and  him  she  is  conjuring.  She 
moves  around  the  fire  four  times,  and  now  the  ground  opens  in  the  rear 
of  the  house  and  out  comes  a huge  sI'siuL.  Its  horns  are  moving  and 
its  tongues  are  playing.  This  carving  is  either  raised  by  means  of 
strings  which  pass  over  the  beams  of  the  house  or  by  men  who  lift  it 
from  underneath.  A carving  of  this  sort  was  exhibited  at  the  World’s 
Columbian  Exposition,  and  has  been  transferred  to  the  Field  Columbian 
Museum.  As  soon  as  it  appears  there  is  a great  commotion  in  the  rear 
of  the  house  so  that  it  can  not  be  seen  very  distinctly.  After  it  has 
disappeared  again  the  singers  begin  its  song,  which  is  as  follows : 1 


1.  Let  us  show  what  we  gained  hy  war! 

2.  ( Wma/lag'ilis  says:)  I did  not  turn  my  face  backward  to  look  at  those  who  were 

bothering  me  when  I went  to  make  war  on  you,  friend. 


Appendix,  page  715. 


488 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


3.  Throw  your  power  that  is  killing  everybody,  throw  your  fire  of  death,  throw  what 

makes  them  turn  their  faces  downward,  throw  it  against  them  who  went  to 
make  war  upon  you. 

4.  I surpass  them,  they  are  the  lowest  of  the  whole  world. 

5.  I pulled  them  into  my  canoe  to  be  my  slaves,  that  they  may  bail  out  the  war  canoe.1 

Another  t’b'X’uit  will  take 
a stick,  a lance,  or  a paddle, 
and,  after  having  conjured  up 
the  si'siuL,  split  it  in  two. 
This  is  done  with  a smaller 
carving,  which  consists  of  two 
parts  that  can  be  separated 
and  joined  again  by  means  of 
strings.  A sI'siuL  of  this  kind 
was  collected  by  Mr.  Hunt  for  the 
Anthropological  Department  of  the 
World’s  Columbian  Exposition,  and 
is  now  in  the  Field  Columbian  Mu- 
seum. Its  song,  which  is  four  gen- 
erations old, is  as  follows:2 

1.  I have  been  on  the  other  side  of  the 
world,  I,  the  great  supernatural 
being. 

2.  There  I obtained  all  the  supernatural 
power. 

3.  I bring  with  me  all  the  supernatural 
power. 

Still  other  t’o'X’uit  will  conjure  up 
a small  sUsiuL,  which  flies  through 
the  air  like  that  of  the  ma/maq’a. 
At  other  times  the  t’o'X’ui  twill  suc- 
ceed in  bringing  the  sflsiuL  up  just 
far  enough  for  its  horns  to  show. 
She  tries  to  grasp  it  and  it  takes  her 
down  to  the  under  world.  Then  her 
friends  try  to  hold  her,  but  she  dis- 
appears. Her  attendant,  who  holds 
on  to  her,  sinks  into  the  ground 
with  his  forearms  and  seems  to 


Fig.  134. 

HEAT)  RING  AND  NECK  RING  OP  NA'NAQAUALIL. 

The  two  smaller  crosspieces  on  the  neck  ring  rep 
resent  the  heads  of  the  si'siuL,.  from  whom  the 
dancer  received  his  magic  power ; the  third  and 
larger  one  represents  a skull,  a gift  of  Baxbaku- 
alanuXsI'wae. 

Cat.  Nos.  175510  and  175513,  U.  S.  N.  M.  Collected  by  F.  Boas. 


‘This  song  is  a modified  form  of  an  older  song  belonging  to  the  Sl'sinLae  of  the 
Kwakiutl.  It  was  given  this  form  at  a time  when  the  Nimkish  had  invited  the 
Kwakiutl  to  a feast.  It  is  aimed  against  the  Nimkish.  The  references  to  war  mean 
here  only  the  rivalry  in  distributions  of  property,  and  the  song  intimates  that  the 
Kwakiutl  are  superior  to  the  Nimkish.  The  dancer  is  called  “friend”  because  when 
the  song  was  sung  first  he  had  not  received  his  new  name  yet.  In  line  3,  “makes 
them  turn  their  faces  downward,”  means  that  the  Nimkish  are  lying  flat  on  the 
ground  and  the  Kwakiutl  are  stepping  over  their  backs.  Line  4,  “the  lowest  of  the 
whole  world,”  men  ns  again  the  Nimkish,  exaggerating  their  inferiority. 

3 Appendix,  page  716. 


THE  KWAKIUTL  INDIANS. 


489 


be  carried  all  through  the  house  by  the  woman  who  is  moving  under- 
ground. He  is  plowing  the  floor  with  his  arms.  This  is  done  by  bury- 
ing a stout  rope  about  8 inches  below  the  surface  and  covering  it  with 
loose  dirt.  The  man  pulls  himself  along  this  rope  (see  p.  604). 

Still  other  t’o'X’uit  invite  the  people  to  kill  them.  The  dancer  says 
“hup,  hup,”  moving  the  edge  of  her  palm  along  her  throat,  meaning, 
“Cut  my  neck!”  or  she  moves  the  tips  of  the  fingers  of  both  hands 
down  her  stomach,  meaning  “Open  my  belly!”  or  she  moves  them 
along  her  head,  shoulders,  or  other  parts  of  her  body.  Finally,  she  is 
placed  on  a seat  behind  the  fire  and  one  of  her  attendants  complies 
with  her  request.  He  will  appear  to  drive  a wedge  through  her  head 
from  one  temple  to  the  other.  The  wedge  is  first  shown  to  the  people 
and  then  secretly  exchanged  for  another  one,  which  consists  of  two 
parts  attached  to  a wooden  band  that  is  slipped  over  her  head  and 
covered  with  hair.  Thus  it  seems  that  the  butt  is  standing  out  on  one 


MASK  OF  HA'’MAA. 

Length,  31  inches. 

IV  A,  No.  6879,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  F.  Boas. 

side,  the  point  having  passed  through  her  skull.  At  the  same  time 
bladders  containing  blood,  which  are  attached  to  the  band,  are  burst, 
and  the  blood  is  seen  to  flow  down  her  face.  She  also  bites  her  cheeks 
or  bursts  a small  bag  containing  blood  which  she  holds  in  her  moutb, 
so  that  it  flows  out  of  her  mouth.  A pair  of  seal’s  eyes  are  hidden  in 
her  hair  and  let  down  over  her  own  eyes  when  tbe  wedge  is  driveu  in, 
so  that  it  looks  as  though  her  eyes  were  coming  out  of  their  sockets. 
Then  she  rises  and  walks  around  the  fire  to  show  the  wedge  sticking  in 
her  head.  After  one  circuit  she  is  seated  again,  the  wedge  is  removed, 
and  she  is  hale  and  sound.  On  other  occasions  the  head  or  shoulder 
is  struck  with  a paddle  which  seems  to  split  it,  and  on  being  with- 
drawn leaves  a bloody  line,  which  looks  like  a wound.  In  this  case  the 
paddle  is  secretly  exchanged  for  another  one  which  is  so  notched  as  to 
fit  her  head  or  shoulder.  She  walks  around  the  fire  showing  it,  and 
then  it  is  removed. 

Other  t’oX’uit  request  their  attendants  to  kill  them  with  a spear. 


490 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


She  is  seated  in  the  rear  of  the  house,  and  the  spear  which  has  been 
shown  to  the  people  is  secretly  exchanged  for  another  one  the  point  of 
which  can  be  pushed  into  its  shaft.  The  spear  is  put  under  the  arm  of 
the  t’o'X’uit,  and  apparently  pushed  slowly  into  her  body.  As  it  enters, 
blood  is  seen  to  flow  from  the  wound.  The  blood  is  in  this  case  also 
kept  in  a small  bladder,  which  is  attached  to  the  skin.  When  it  seems 


Fig. 136. 

MASK  OB’  SALMON  DANCER. 

Tlie  wings  represent  tlie  salmon,  while  the  inner  face  is  that  of  a supernatural  bird,  a,  outer  view  of 
wing;  b,  view  of  mask  half  opened.  Length,  30J  inches;  black,  white. 

IV  A,  No.  6881,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  F.  Boas. 

to  have  entered  the  full  breadth  of  the  body,  the  skin  on  the  opposite 
side  is  seen  to  be  pushed  out  by  the  point,  and  blood  flows  also  from 
that  point.  As  a matter  of  fact,  a hook  which  is  attached  to  the  hem- 
lock ring  on  the  dancer’s  arm  is  fastened  to  the  skin,  which  is  pulled  up 
by  a slow  motion  of  the  arm.  At  the  same  time  the  hook  breaks  a 
bladder  containing  blood. 


Plate  39. 


Report  of  U.  S.  National  Museum,  1895. — Boas. 


D’e'ntsiq. 


THE  KWAKIUTL  INDIANS. 


491 


Tig.  137. 

MASKS  OF  WASP  DANCER. 

Height,  61  inches;  blue,  black,  red. 

IV  A,  Nos.  422  and  423,  Royal  Ethnographical  Museum, 
Berlin.  Collected  hy  A.  Jacobsen. 


In  some  dances  the  head  of  the  dancer  is  cut  off,  and  the  person  who 
cuts  it  shows  a carved  human  head  hearing  the  expression  of  death, 
which  he  holds  by  its  hair.  These  heads  are  as  nearly  portraits  of  the 
dancer  as  the  art  of  the  carver  will  permit 
(figs.  153, 154,  pp.  503,  504). 

Sometimes  the  t’o'X’uit  is  burnt.  A 
box  which  has  a double  bottom  is  pre- 
pared for  this  performance.  The  dancer 
lies  down  flat  in  the  rear  of  the  house  and 
the  box  is  laid  down  sideways,  so  that 
she  may  be  pushed  into  it  from  behind. 

At  the  place  where  she  is  lying  down  a 
pit  is  dug,  in  which  she  hides,  while  being 
concealed  from  the  view  of  the  people  by 
the  box  which  stands  in  front  of  her.  After  the  pit  has  been  covered 
again,  the  box  is  raised,  closed,  and  thrown  into  the  fire.  Before  the 
box  is  brought  in,  a skeleton  has  been  put  between  its  two  bottoms. 
While  the  box  is  burning,  the  song  of  the  dancer  is  heard  coming  from 
the  fire.  From  the  pit  in  which  she  hides  a speaking  tube  of  kelp  is  laid 
under  the  floor  to  the  fireplace,  and  through  it  she  sings.  When  the  fire 
has  died  down,  the  charred  bones  are  found  in  the  ashes.  They  are  col- 
lected, laid  on  a new  mat,  and  for 
four  days  the  people  sing  over 
them.  The  mat  is  so  placed  that 
it  lies  over  the  mouth  of  another 
speaking  tube.  The  shaman  tries 
to  resuscitate  her,  and  after  four 
days  a voice  is  heard  coming  forth 
from  the  bones.  Then  they  are 
covered  with  a mat.  The  woman 
crawls  up  from  out  of  a ditch, 
into  which  the  bones  are  thrown, 
while  she  lies  down  in  their  place. 
She  begins  to  move,  and  when 
the  mat  is  removed,  she  is  seen 
to  have  returned  to  life.  In 
many  of  these  dances,  after  the 
performer  has  been  killed,  the 
d’E'ntsiq  (Plate  39  and  fig.  155)1 
arises  from  under  ground.  It 
consists  of  a series  of  flat,  carved 
boards  connected  on  their  nar- 
row sides  by  plugs  which  pass  through  rings  of  spruce  root  or  through 
tubes  cut  out  of  cedar.  The  joints  are  somewhat  loose,  so  that  the  whole 
can  be  given  an  undulating  motion  forward  and  backward.  It  has  two 


Fig. 138. 

MASK  OF  QO'LOC. 
Length,  14  inches. 

IV  A,  No.  6894,  Royal  Ethnographical  Museum 


Berlin.  Collected  by 


Page  506. 


492 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


or  three  points  on  top,  and  mica  is  glued  on  its  painting.  It  is  intended 
to  represent  the  si'siuL,  but  I am  not  able  to  interpret  the  carving  in 
detail.  The  characteristic  figure  of  the  sPsiuL  certainly  does  not  appear 
on  it. 

Other  t’o'X’uit,  instead  of  conjuring  the  si'siuL,  bring  up  the  no'n- 
LEmgdla  (making  foolish)  (figs.  156-158), 1 a small  human  figure  with 
movable  head  and  arms.  It  dances  about,  and  then  one  or  two  birds 
are  seen  to  fly  down  from  the  roof  and  alight  on  its  head.  In  fig. 
158  the  bird  is  seen  sitting  on  the  figure’s  head.  Fig.  159  represents 
a bird  which  is  let  down  by  means  of  strings,  at  the  same  time  flapping 
its  leather  wings.  Often  the  bird  takes  hold  of  the  figure’s  head  and 
carries  it  away,  to  return  it  after  a while.  The  face  of  the  no'nLEmg-ila 
is  always  painted  in  the  same  manner.  It  is  white,  and  two  black  lines, 
on  to  which  mica  is  glued,  run  downward  from  the  eyes.  The  head  is 
set  with  tufts  of  human  hair.  The  figure  is  also  worked  from  under- 
ground. In  some  dances  only  the  head  of  the  no'nLEmg-ila  is  used 

(fig.  160,  p.  510).  It  is  worn  by  a 
dancer  who  wraps  a blanket  over  his 
head  and  carries  the  head  in  front  of 
his  stomach. 

The  t’o'X’uit  is  supposed  to  be 
able  to  make  every  object  he  touches 
rattle.  A stone,  a staff,  a pipe,  etc., 
is  handed  him  by  any  member  of  the 
audience,  and,  when  he  shakes  it,  it 
rattles.  He  wears  a small  rattle  concealed  under  his  hemlock  bracelet, 
which  produces  this  sound. 

The  La'Lasiqoala  call  the  t’o'X’uit  o'lala,  and  have  special  names  for 
the  various  performances.  They  use  ornaments  of  red  cedar  bark.  The 
ring  of  the  o'lala  is  shown  in  fig.  161  (p.  510).  The  o'lala,  when  return- 
ing from  the  woods,  has  many  bloody  lines  on  his  cheek,  “the  rubbing 
of  Wlna/lagdlis’s  canoe.”  Four  horizontal  lines  run  over  each  cheek, 
nearly  reaching  the  nose.  Above  them  is  one  just  under  the  eyes  cross- 
ing the  bridge  of  the  nose,  and  two  short  vertical  lines  run  down  the 
temples  outside  the  eyes.  Another  painting  of  the  o'lala  consists  of 
one  pair  of  parallel  black  lines  running  from  one  cheek  over  the  upper 
part  of  the  bridge  of  the  nose  to  the  other  cheek,  and  of  a pair  running 
horizontally  across  the  middle  of  the  forehead.  Following  is  one  of  the 
o'lala’s  songs:2 

1.  (O'lala  sings:)  The  world  knows  that  I have  reached  the  dancing  pole  of  our 

world. 

2.  (The  people  sing:)  Hold  upright  the  great  post  in  the  middle  of  the  world. 

3.  You  who  holds  up  the  world. 

4.  You  keep  the  sky  from  falling  down  like  a foundation  built  of 

interlocking  logs. 


Pig.  139. 

WHISTLE  OF  QO'L^C. 

Length,  inches. 

IV  A,  No.  6895,  Royal  Ethnographical  Museum,  Berlin.  Col- 
lected by  F.  Boas. 


Pages  501-509. 


Appendix,  page  716. 


THE  KWAKIUTL  INDIANS. 


493 


A modification  of  the  o'lala  is  the  ts’e'k’ois,  who  it  is  believed  has 
many  birds  in  his  stomach,  the  voices  of  which  are  heard  constantly. 
He  holds  small  whistles  hidden  in  his  mouth,  which  he  exchanges  from 
time  to  time,  and  thus  produces  the  various  sounds.  His  ornaments  are 


Length,  8£  inches;  black  and  red.  IV  A,  No.  Length.  15J  inches;  black  and  red.  IV  A,  No. 
421.  1269. 

Fig.  140. 

WOLF  MASKS  FOR  THE  WALAS’AXA'. 

Royal  Ethnographical  Museum,  Berlin.  Collected  by  Captain  Cook  and  A.  Jacobsen. 

shown  in  fig.  162  (p.  511).  His  painting  consists  of  groups  of  three 
parallel  short  black  lines.  There  are  five  such  groups  of  vertical  lines 
distributed  irregularly  over  each  cheek.  Three  longer  lines  occupy  the 
middle  of  the  forehead,  running  almost  vertically  from  the  hair  to  the 
nose.  Three  more  lines  occupy  the  chin — one  running  from  the  middle 


494 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


of  the  under  lip  downward;  tbe  other  two,  one  from  each  corner  of  the 
mouth  downward.  Following  is  one  of  the  songs  of  the  ts’e'k’ois:1 

1.  Keep  silent  the  sacred  voices  which  we  hear  proceeding  from  your  body. 

2.  Everybody  knows  your  name.  Keep  your  sacred  whistles  quiet. 

3.  Everybody  knows  your  name,  great  healer  ! 

The  sFlis  (snake  in  belly)  is  believed  to  have  a snake  in  his  stomach. 
He  hides  a piece  of  kelp  in  his  mouth,  which  during  his  dance  he  blows 


Fig.  141 

MASK  OF  TS’O'NOQOA. 

Height,  15  inches;  black,  red. 

IV  A,  No.  555,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 

up  so  that  it  grows  out  of  his  mouth  like  the  tail  of  a snake.  His  orna- 
ments are  shown  in  fig.  163  (p.  511).  Following  is  his  song:1 

The  people  sing : How  great  is  our  famous  one ! 

How  great  is  his  name  ! 

The  dreaded  spirit  is  coming  in  his  canoe ! 

How  great  is  his  name! 

Sills  sings:  Do  not  he  troubled!  Do  not  he  afraid  on  account  of  the  storm 

caused  by  my  great  protector. 

My  protector  the  si'siuL  goes  right  up  to  the  greatest  chiefs. 

The  people  sing:  How  great  is  our  famous  one! 

Sills  sings:  He  said  to  me:  “You  will  take  counsel  with  Wlna/lag'ills. 

He  said  to  me : u You  will  he  friend  to  Wlna/lagdlls. 

The  people  sing:  How  great  is  our  famous  one. 

The  A/?mlala  is  also  initiated  by  Wmadagulis.  He  is  not  counted  as 
a member  of  the  tfo'X’uit,  but  performs  a separate  dance.  His  head 
ring  and  neck  ring  are  made  of  hemlock.  He  wears  a club,  the  end  of 
which  is  set  with  long  thorns  (fig.  164,  p.  512).  After  several  circuits 
around  the  fire,  he  presses  these  thorns  into  his  head,  and  blood  is  seen 


Appendix,  page  716. 


THE  KWAKIUTL  INDIANS. 


495 


to  flow  freely.  Then  he  presses  them  into  his  neck.  His  rings  are  made 
oi  hemlock  branches,  in  which  a tube  of  kelp  is  hidden.  The  tube  is  filled 
with  blood.  The  thorns  are  pushed  into 
the  kelp,  out  of  which  the  blood  runs  over 
the  face  and  down  the  body. 

The  last  of  the  dances,  the  origin  of 
which  is  ascribed  to  Wina/lag-ilis,  is  the 
liawi'nalaL,  the  war  dance.  The  legend 
of  this  dance  belongs  to  the  clan  Maam'- 
tag-ila.  In  the  beginning  of  the  world 
there  was  a man  named  WLnaXwIna- 
g-irn,  who  was  a great  warrior.  He  wanted 
to  go  on  war  expeditions  all  the  time. 

The  people  who  desired  to  have  peace 
tied  him  with  strong  ropes.  He,  how- 
ever, broke  them  without  difficulty.  He 
held  a knife  in  his  hands,  the  handle  of 
which  represented  the  sI'siuL,  and  ran 
out  of  the  house,  and  killed  everybody 
who  set  his  foot  on  the  street.  The  blood 
ran  in  streams  down  to  the  water.  The 
people  finally  took  hold  of  him  again,  cut 
holes  through  his  thighs  and  through  his  back,  and  pulled  ropes  through 
them.  Thus  they  hung  him  onto  the  beam  of  the  house  and  began  to 
sing  songs  which  they  hoped  would  appease  him.  While  he  was  swing- 
ing from  the  beam  he  still  held  his  knife,  and  as  he  could  not  cut  any- 
one else,  he  cut  his  own  head.  His  wounds  did  not  hurt  him  $ on  the 


Fig.  142. 

MASK  OF  TS’O'NOQOA. 

Height,  16^  inches ; hlack,  red. 

IV  A,  No.  883,  Royal  Ethnographical  Museum,  Berlin. 
Collected  by  A.  Jacobsen. 


Fig. 143. 

MASK  OF  TS’O'NOQOA. 

Height,  11§  inches. 


On  each  cheek  is  a painting  representing  a copper. 

IV  A,  No.  1286,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 

contrary,  he  enjoyed  them.  After  a while  he  became  quiet.  Then  they 
took  him  down.  Later  on,  whenever  he  came  back  from  war,  he  asked 
the  people  to  pull  ropes  through  his  back  and  to  haul  him  up  to  the  roof. 


496 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


Fig.  144. 

MASK  OF  TS’O'NOQOA. 

Height,  18  inches;  black. 

IV  A,  No.  6896,  Royal  Ethnographical  Museum,  Ber- 
lin. Collected  by  F.  Boas. 


They  tied  to  his  back  a sT'siuL  carving  to  which  ropes  were  fastened, 
stretched  a heavy  rope  from  the  beach  to  the  roof  of  his  house,  and 
pulled  him  up.  They  carried  him  around 
the  roof  and  let  him  down  again. 

The  performance  of  the  hawl'nalaL  is 
a repetition  of  the  deeds  of  this  man. 

When  he  is  being  initiated,  he  fasts  in 
the  woods  until  he  grows  very  thin. 

When  he  comes  back,  he  wears  orna- 
ments of  hemlock  branches.  Small  thin 
slabs  of  wood  carved  in  the  shape  of 
paddles  (fig.  165,  p.  513)  are  sewed  along 
his  arms  and  legs,  across  his  chest,  and 
down  his  sides.  Then  a rope  of  red  cedar 
bark  is  stretched  from  the  roof  of  the 
dancing  house  to  the  beach.  Nobody  is 
allowed  to  go  under  it,  and  no  canoe  must 
pass  in  front  of  it.  If  a canoe  should 
transgress  this  law,  it  is  seized,  carried 
into  the  house,  and  slung  to  the  beams, 
where  it  remains  for  four  days.  When 
he  hawl'nalaL.  dances  in  the  house,  his  legs  and  his  back  are  cut  andt 
ropes  pulled  through  the  holes,  which  are  held  by  two  men.  The  paint- 
ing on  a bedroom  (Plates  40,  41)  shows 
this  very  well.  The  hawl'nalaL  pulls  on 
the  strings  as  hard  as  possible,  so  that  his 
flesh  is  pulled  far  out.  He  stretches  his 
arms  backward,  crying  “ai,  ai!”  which 
means  that  he  desires  his  leader  to  pull 
on  the  ropes.  Then  he  looks  upward  and 
points  up  with  his  first  fingers,  crying 
“ai,  ai!”  which  means,  “Hang  me  to  the 
beam!”  He  carries  a belt  or  neck  ring 
carved  in  the  form  of  the  si'siuL.  Fig. 
166,  p.  514,  shows  a neck  ring  of  this  kind, 
which  is  jointed  and  hinged  with  leather 
so  that  it  can  be  hung  around  the  neck. 
A string  runs  along  the  opening  sides  of 
the  joints.  When  it  is  pulled,  the  neck 
ring  straightens  and  is  used  by  the  hawl'- 
nalaL as  a sword  or  lance  to  hurt  himself. 
The  belt  of  the  hawl'nalaL  has  si'siuL 
heads  (fig.  167,  p.  514).  His  knife,  which 
he  carries  in  his  hand  (q’E'Layu),  shows  the  same  design  (figs.  168, 
169,  p.  5#15).  While  the  hawl'nalaL  is  making  his  circuits,  moving  his 
hands,  and  crying  as  described  above,  and  making  high  steps,  he  cuts 


Fig.  145. 

MASK  OF  THE  SEA  MONSTER  IA'K'iM. 
Museum  of  the  Geological  Survey,  Ottawa.  Collected 
by  F.  Boas. 


EXPLANATION  OF  PLATE  40. 


1 2 


Paintings  on  the  Sides  of  a Bedroom. 

Fig.  1 shows  a picture  of  a wolf  swallowing  a man,  and  of  the  hawfnalaL  with  his 
two  assistants.  The  HawTnalaL  has  a sI'siuL  belt,  and  is  stabbing  him- 
self with  a knife.  One  of  his  assistants  is  holding  him  by  a rope  passing 
through  the  skin  of  his  legs,  and  the  other  by  a rope  passing  through  the 
skin  of  his  back. 

Fig.  2 is  a picture  of  a man  squatting  over  a whale. 

IV  A,  No.  1130,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 


Report  of  U.  S.  National  Museum,  1895. — Boas. 


Plate  40, 


Paintings  on  the  Sides  of  a Bedroom. 


EXPLANATION  OF  PLATE  41. 

Painting  on  the  Front  of  a Bedroom. 

Over  the  door  is  the  si'siuL  being  attached  by  birds.  To  the  left  the  crane  is 
represented,  and  below  this  the  thunder-bird.  The  upper  right-hand  figure  repre- 
sents the  eagle,  and  the  lower  figure  on  the  same  side  the  raven.  Two  men  whom 
the  sI'smL  has  hilled  are  shown  near  the  bottom  of  the  door. 

IY  A,  No.  1130,  Eoyal  Ethnographical  Museum,  Berlin.  Collected  ty  A.  Jacobsen. 


Report  of  U.  S.  National  Museum,  1895. — Boas. 


Plate  41 . 


Painting  on  the  Front  of  a Bedroom. 


THE  KWAKIUTL  INDIANS. 


497 


Fig.  146. 

HEAD  RING  OF  GHOST  DANCER. 

Cat.  No.  169115,  U.  S.  N.  M.  Collected  by  F.  Boas. 


his  head  with  his  knife,  and  finally  with  a sudden  jerk  tears  his  flesh  so 
that  the  ropes  drop  down.  Then  he  disappears  in  his  room  in  the  rear 
of  the  house.  At  other  times  ropes  are  passed  through  his  back  and 
thighs  and  he  is  pulled  up 
to  the  beams  hanging  by  the 
ropes.  He  carries  his  knife 
and  cuts  his  head  while  being 
suspended  there.  As  soon  as 
he  is  being  hauled  up,  the  noo'n- 
LEmaLa  take  their  lances  and 
crowd  under  the  place  where 
he  is  h an  gin  g,  holding  the  points 
of  their  lances  upward,  so  that 
he  would  drop  right  on  to  them 
if  the  ropes  should  give  way. 

The  bears  stand  around  wait- 
ing to  tear  him  if  he  should  fall, 
and  the  ha/mats’as  squat  near  by,  because  they  are  to  eat  him  if  he 
should  fall  upon  the  lances  of  the  noo^LEmaLa. 

Here  is  a song  of  the  hawfnalaL : 

1.  They  tried  to  hang  me  and  to  kill  me  in  war. 

2.  But  the  water  where  they  tried  to  kill  me  only  turned  into  curdled  blood. 

I also  give  (figs.  170,  171,  p.  516)  the  mask  of  the  earthquake  dancer 
(Xoa/exoe).  He  wears  a rattle  consisting  of  a ring  on  which  perforated 
shells  are  strung  (fig.  172,  p.  516).  His  dance  is  believed  to  shake  the 

ground  and  to  be  a certain  means  of 
bringing  back  the  ha/mats’a  who  is 
being  initiated. 

I will  add  here  a song  of  a mask 
in  regard  to  which  I have  not  been 
able  to  obtain  any  definite  informa- 
tion. It  is  called  Hahalik-imL  and 
belonged  originally  to  the  Oe'xsEin 
of  the  Xaqohng-ilisala,  whose  ances- 
tor, Heflig-ilig-ala,  it  is  said  to  rep- 
resent. The  dancer  is  initiated  in 
the  house.  In  his  first  and  third 
dances  he  wears  ornaments  of  red 
cedar  bark  which  have  a horn  on 
each  side,  one  behind,  and  a flat  crosspiece  in  front.  In  his  second  and 
fourth  dances  he  wears  a curious  mask. 

After  the  mask  1 * as  disappeared,  the  people  sing: 1 

1.  Everybody  goes  to  Mm  to  obtain  dances. 

2.  In  the  beginning  tbe  never  stopping  one  spread  Ms  wings  over  your  bead. 3 


Fig.  147. 

NECK  RING  OF  GHOST  DANCER. 

Cat.  No.  169116,  U.  S.  N.  M.  Collected  by  F.  Boas; 


1 Appendix,  page  717. 

NAT  MUS  95 -32 


2 Tbe  never  stopping  one,  Wina'lag-ilis. 


498 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


It  may  be  that  the  following  song  belongs  to  the  same  mask: 1 

1.  Aia  haia!  Sing  Haialik-alan,  sing  winter  dance  songs,  great  supernatural  spirit! 

2.  Aia  haia ! Then  the  people  will  ask  you  to  fulfill  their  desires,  great  supernatural 

spirit. 

3.  Aia  haia ! Then  they  will  take  the  cedar  hark  ornaments  out  of  your  hair,  great 

supernatural  spirit. 

4.  Aia  haia ! Then  they  will  ask  you  to  give  them  plenty  to  eat,  great  supernatural 

spirit. 

The  dance  Hakalik-auae  of  the  various  tribes  belongs  here,  but  I have 
not  been  able  to  collect  any  of  the  songs  belonging  to  it.  Figs.  173-177 
(pp.  517-520)  show  the  ornaments  of  the  Kwakiutl  dancer;  figs.  178- 
180  (pp.  521-523),  the  ornaments  of  Hakalik-auae  of  the  Kimkish;  and 
fig.  181,  p.  5 4,  the  ika/sq’enox. 

The  ring  of  the  shaman  (fig.  182)  is  figured  on  page  525. 

The  La'Lasiqoala  embrace  all  those  who  are  for  the  first  time  initiated 
as  winter  dancers  in  one  group,  who  are  called  wa/tanEm,  the  lowest 
grade  of  the  winter  dance  societies.  Their  head  ring  is  shown  in  fig. 
183  (p.  525). 

The  same  type  of  ring,  but  somewhat  larger,  is  used  by  the  chief  of 
the  killer  whale  society  of  the  Kwakiutl  (fig.  184,  p.  526). 

Following  is  a wa/tanEin  song:2 

1.  You  do  not  go  into  Wina/lag-ilis’  canoe,  you  who  are  known  everywhere. 

2.  You  do  not  go  into  Wina/lag-ilis’  canoe,  you  whose  name  is  known  everywhere. 

3.  You,  who  will  he  feared  by  all  the  supernatural  beings. 

4.  You,  great  one,  who  will  be  feared  by  all  the  supernatural  beings. 

The  head  ring  worn  by  the  que'qutsa  is  shown  in  fig.  185  (p.  527). 
When  a person  is  to  be  initiated  for  the  first  time,  he  receives  among 
the  Kwakiutl  the  rings  shown  in  figs.  186, 187  (pp.  527, 528). 

It  remains  to  give  a list  of  the  dances  according  to  their  rank.  There 
are  many  among  them,  about  which  I have  no  further  information  than 
that  contained  in  the  following  list.  I also  give  the  number  of  songs 
which  belong  to  each  dancer,  his  whistles,  and  secret  songs,  which  are 
sung  by  the  dancer  himself.  This  order  has  reference,  of  course,  only 
to  the  Kwakiutl  proper : 

1.  AwiTolIul,  four  songs;  four  whistles ; secret  song.  Hemlock  rings.  (Dancers 

who  have  acquired  ha/inats‘a,  liai'alik-ilaL,  t’o'X’uit.) 

2.  Ha/mats’a,  eight  songs;  four  whistles.  Red  cedar  bark. 

3.  Ha'mshamtsES,  two  songs.  Red  cedar  bark. 

4.  No'ntsistalaL,  four  songs;  two  whistles.  Red  and  white  cedar  bark.  (Obtained 

from  Awl'k-’enox.) 

5.  Qoe'qoasElaL,  four  songs ; two  whistles ; secret  song.  Red  and  white  cedar  bark. 

(Obtained  from  Awl'k-’endx,  beggar  dance.) 

6.  Me'iLa,  two  songs;  two  whistles;  Red  and  white  cedar  bark.  (Obtained  from 

Awl'k-’endx.) 

7.  Na/ne  s BaxbakualanuXsbwae,  two  songs;  two  whistles;  secret  song.  Red  and 

white  cedar  bark.  (Bear  of  BaxbakualanuXsI'wae.) 

8.  T’o'X’uit  with  frog,  one  song;  two  whistles;  secret  song.  Hemlock. 


1 Appendix,  p.  717. 


Appendix,  p.  718. 


THE  KWAKIUTL  INDIANS. 


499 


9.  T’o'X’uit  with  bird,  one  song;  two  or  more  whistles.  Hemlock. 

10.  KT'nqalaLala,  two  songs.  Red  cedar  hark. 

11.  Q’o'minoqa,  four  songs ; two  whistles.  Red  and  white  cedar  hark.  Rich  woman. 

12.  HawknalaL,  two  songs;  secret  song.  Hemlock.  War  dance. 

13.  Na/ne,  one  song.  Red  and  white  cedar  hark.  Grizzly  hear. 

14.  Hawa/yadalaL7  one  song.  Red  and  white  cedar  hark.  (A  nu/LmaL.) 

15.  G'e'qameqoLEla,  one  song.  Red  and  white  cedar  hark.  (AnhTmaL.) 

16.  NE’nq’oLEla,  one  song.  Red  and  white  cedar  hark.  (Bear  iiu'LmaL.) 

17.  Nu'LmaL,  one  song.  Red  cedar  hark. 

18.  Ivu'nXulaL,  one  song;  one  deep  whistle.  Red  and  white  cedar  hark.  Thunder- 

hird  dance. 

19.  Ho'Xhdq,  one  song.  Red  and  white  cedar  hark. 

20.  Qoqoa'XulaL,  one  song.  Red  and  white  cedar  hark.  Raven  dance. 

21.  Hawa/LElaL,  two  songs ; two  small  whistles.  Red  and  white  cedar  hark.  Otter 

dance. 

22.  Xua/Xuelik-a,  one  song;  one  whistle.  Red  and  white  cedar  hark.  Wolf  dance. 

23.  Awa/sElaL;  one  song.  Red  and  white  cedar  hark.  Dog  dance. 

24.  Ha/’maa,  one  song.  Red  and  white  cedar  hark. 

25.  A'’mlala,  two  songs.  Hemlock. 

26.  Lo'koala,  one  song.  Red  cedar  hark.  Wolf  dance. 

27.  Hama'xalaL,  one  song.  Red  and  white  cedar  hark.  Killer  whale  dance. 

28.  Qoqoe’k'ilaL,  one  song;  one  deep  whistle.  Red  and  white  cedar  hark.  Whale 

dance. 

29.  Ylya'g-adElaL,  one  song.  Red  and  white  cedar  hark.  Sea  monster  dance. 

30.  Hayaq’antalaL,  one  song.  Red  and  white  cedar  hark.  Talker’s  dance.  • 

31.  Hawe'xaqulaL,  one  song.  Red  and  white  cedar  hark.  Potlatch  dance. 

32.  Ao'malaL,  one  song.  Red  cedar  hark.  Chieftainess’s  dance. 

33.  LaLaa/koalaL,  one  song.  Red  cedar  hark.  Board  dance. 

34.  Na’naqaualiL,  two  songs.  Red  cedar  hark.  Sunrise  dance. 

35.  Ma’mtsalaL,  one  song;  two  small  whistles.  Hemlock.  Mink  dance. 

36.  A'mLeta,  one  song.  Red  and  white  cedar  hark. 

37.  Female  Me’iLa,  one  song.  Feathers. 

38.  Ma/tEm,  two  songs.  Hemlock. 

39.  QVmalaL,  two  songs.  Hemlock.  Rich  dance. 

40.  NuLmeista,  two  songs.  Red  and  white  cedar  hark. 

41.  IlatsVXulaL,  two  songs.  Red  and  white  cedar  hark. 

42.  Hame’yalaL,  two  songs.  Red  cedar  hark  and  feathers.  Salmon  dance. 

43.  Walas’axa/ku,  two  songs.  Red  and  white  cedar  hark.  Great  from  above. 

44.  LEloYalaL,  two  songs;  one  large  whistle.  Red  and  white  cedar  hark.  Ghost 

dance.  Has  no  whistle  in  Newettee. 

45.  Hai'alik-ilaL,  two  songs.  Red  cedar  hark. 

46.  No'LEin,  one  song.  Red  and  white  cedar  hark. 

47.  Pa/xalalaL,  two  songs.  Red  cedar  hark.  Shaman’s  dance. 

48.  Ha/masElaL,  one  song.  Red  and  white  cedar  hark.  Wasp  dance. 

49.  QoTOs,  one  song;  one  whistle.  Red  and  white  cedar  hark.  An  eagle. 

50.  Wina/lag-ilis,  one  song.  Red  cedar  hark. 

51.  Qautex*axaa/ku,  one  song.  Red  and  white  cedar  bark.  Distribution  of  property 

from  above. 

52.  Sl’siyuLalaL,  two  songs.  Red  cedar  hark.  Sl’siuL  dance. 

53.  Qa/mXulaL,  one  song.  Down.  Down  dance. 

The  classification  and  order  of  dances  varies  considerably  among  the 
various  groups  of  tribes.  The  order  given  above  belongs  to  the 
Kwakiutl,  Ma'maleleqala,  Mmkish,  and  Laufitsis. 


500 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


The  Ts’a'watEenox,  Guau'aenox,  Haxua'mis,  T’Ena'xtax,  and  A'wai- 
LEla  have  the  following  order  so  far  as  I have  been  able  to  learn : 

1.  Ma'maq’a. 

2.  Ha/mats’a. 

3.  Hai'aq’antElaL  (speaker  dance). 

4.  Plawe'xaqulaL,  who  induces  chiefs  to  destroy  property,  coppers,  etc. 

5.  Walas’axa/aL. 

6.  Haua/iadalaL  (a  fool  dance). 

Among  the  Koskimo,  Gm'p’enox,  L’a/sq’enox,  and  Gua'ts’enox  the 
t’o'X’uit  is  first  in  rank.  Xext  is  the  ma/maq’a,  and  then  follows  the 
ha/mats’a. 

The  LaTasiqoala,  Xaqo'mgdlisala,  Xa/qoaqtoq,  and  Goasida  do  not 
include  all  the  dances  enumerated  above  in  the  winter  ceremonial 
(ts’e'ts’aeqa).  A large  number,  particularly  the  fool  dancers,  the  liawF- 
nalaL,  and  all  the  animals,  are  included  in  a ceremonial  called  nodiLEm, 
which  is  neither  ba/xus  (secular  or  profane)  nor  sacred.  Songs  belonging 
to  both  seasons  are  used  in  this  ceremonial.  I shall  discuss  this  cere- 
monial more  fully  later  on  (Chapter  XII,  p.  621).  The  number  of  mem- 
bers of  the  ts’e'ts’aeqa  is  consequently  small.  They  are  arranged  in 
the  following  order,  beginning  with  the  highest: 

1.  Ma/maq’a. 

2.  Ha/mats’a. 

3.  HahntSEtsoe.  This  is  a ha/mats’a  who  is  not  taken  away  by  BaxbakualanuXsL  wae, 

but  only  dreams  of  him.  Consequently  bis  initiation  is  performed  in  the 
house.  He  has  neither  the  InVmats’a  cry  (hap)  nor  the  ha'mshamtsEs  cry 
(liwip).  His  song  has  words  only.  His  badges  are  like  those  of  the  ha/mats’a. 

4.  Ts’e'kois. 

5.  TsVkoa’ta. 

6.  H-ai'alik-auae. 

7.  O'lala  (corresponding  to  the  t’o'X’uit). 

8.  LoloTalaL. 

9.  YiaiatalaL,  or  Q’o/mindqisaL. 

10.  Pa'xalalaL,  shaman  dance. 

11.  Wa'tanEm.  These  are  the  novices  who  have  just  entered  the  ts’e'ts’aeqa.  After 

the  ha/mats’a  has  been  initiated  four  times  he  is  wa'tanEm — that  means, 
pulled  out  of  the  dancing  house.  He  becomes  a que'qutsa.  During  this 
transitional  period  he  is  waiawe,  i.  e.,  wa/tanEm  in  a transitional  stage.  When 
a ba/xus  offends  the  q’a/q’anas,  which  include  the  above  dancers,  he  is  made 
wa/tanEm.  He  dances  in  four  houses  and  becomes  a novice.  The  following 
year  he  will  be  initiated  in  one  of  the  higher  societies. 


IX.  The  Winter  Ceremonial  oe  the  Kwakiutl. 

I can  now  proceed  to  describe  the  ceremonial  at  which  all  these 
dancers  perform  their  ceremonies.  Generally  it  is  connected  with  the 
refund  of  the  purchase  money  for  a wife,  the  qaute'x-a,  as  described  on 
page  421. 

I will  describe  first  the  great  ceremonial  which  is  the  same  for  all  the 
laxsa,  but  most  elaborate  for  the  initiation  of  a ha/mats’a.  The  whole 


Report  of  U.  S.  National  Museum,  1895. — Boas. 


Plate  42. 


The  Master  of  Ceremonies,  Nu'xnemIs,  and  his  Speaker,  HO'lelite. 

The  figure  to  the  right  represents  the  master  of  ceremonies. 

From  a photograph. 


THE  KWAKIUTL  INDIANS.  501 

ceremonial  is  in  charge  of  a master  of  ceremonies,  whose  name  is 
isu/xnemis  and  LE'mwala,  while  his  profane  name  is  Ohnx-’it;  the  win- 
ter name  of  his  speaker  is  Ho'LElite.  A number  of  further  officers 
will  be  described  in  the  course  of  this  chap- 
ter. All  these  officers  and  the  names  of  the 
officers  derive  their  origin  from  a myth  telling 
how  the  animals  held  their  first  winter  cere- 
monial. I shall  relate  the  myth  later  on  (page 
538).  Plate  42  represents  the  present  master 
of  ceremonies  and  his  speaker. 

At  the  time  of  marriage  the  bride’s  father 
has  promised  to  transfer  his  membership  in 
one  of  the  secret  societies  to  one  of  his  son- 
in-law’s  children.  When  a son  of  the  latter 
has  reached  the  age  of  10  or  12  years,  or  even 
earlier,  he  is  initiated  in  one  of  the  lower 
secret  societies,  through  which  he  must 

pass  before  he 
can  become  a 
member  of 
the  ha/mats’a 

society.  As  soon  as  he  is  entitled  to 
become  a member  of  this  society,  his 
father  invites  the  three  principal  chiefs 
of  the  tribe  to  his  house  and  informs 
them  that  he  desires  his  father-in-law 
to  make  his  son  a member  of  the  secret 
society.  The  celebration  of  this  event 
is  exceedingly  expensive,  and  for  this 
reason  the  three  chiefs  investigate  the 
debts  and  the  property  of  the  man  and 
of  his  father-in-law,  in  order  to  make 
sure  that  they  can  meet  the  expenses  in- 
cidental to  the  ceremonies.  If  they  find 
the  amount  of  property  sufficient,  they 
give  permission  for  the  celebration  of 
the  festival.  In  this  case  they  order  the 
father  to  invite  all  the  chiefs  of  the  tribe 
to  meet  on  the  fourth  day.  When  they 
assemble,  the  three  head  chiefs  inform 
the  young  chiefs  of  the  plan,  and  the 
latter  give  their  consent. 

At  this  meeting,  the  man  who  gives 
the  dance  notifies  his  father-in-law  that  he  desires  to  have  the  blankets 
which  he  paid  for  his  wife  returned,  and  that  he  wants  to  have  the  box 
containing  his  father-in-law’s  dance. 


CLUB  AND  NECK  RING  OF  ME'ILA. 

From  a sketch,  made  at  the  World’s  Columbian.  Exposition. 


Fig.  148. 

HEAD  RING  OF  GHOST  DANCER. 
La'Lasiqoala. 

IV  A,  No. 6874,  Royal  Ethnographical  Museum, 
Berlin.  Collected  by  F.  Boas. 


502 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


Then  the  chiefs  order  the  man  to  invite  the  whole  tribe  to  a meeting 
which  is  to  be  held  four  days  later.  The  three  head  chiefs  inform  the 
tribe,  in  a speech  made  in  a low  voice,  of  their  intention  to  hold  a winter 
dance,  and  the  young  chiefs  request  all  to  prepare  themselves  for  this 
festival.  In  particular,  they  are  asked  to  clean  themselves,  and  to 
refrain  from  intercourse  with  women,  as  the  spirit  Wma/lagdlis,  who  has 
his  home  in  the  north,  but  dwells  among  the  Indians  during  the  dancing- 
season,  dislikes  people  who  are  unclean,  or  such  as  have  had  inter- 
course with  women.  The  young  man  who  is  going  to  give  the  winter 

ceremonial  is  called  the  ye;- 
wixdla. 

At  this  meeting,  the  father- 
in-law  calls  one  of  his  speak- 
ers, who  must  step  into  the 
middle  of  the  house,  holding  a 
pole,  which  is  from  6 to  8 feet 
long.  It  is  called  the  winter  - 
dauce  pole. 

The  speaker  delivers  a 
speech,  in  which  he  sets  forth  the  amount  of  property  represented  by 
the  pole,  and  announces  the  intention  of  the  father-in-law  to  give  it  to 
the  young  man.  He  asks  the  latter  to  step  np  to  the  pole  and  touch  it, 
as  a sign  of  acceptance.  The  whole  assembly  join  in  this  demand,  and 
the  young  man,  accompanied  by  a chief — who  is  paid  for  this  service 
later  on — steps  up  to  the  pole.  The  chief  who  speaks  for  the  young 
man  asks  the  father-in-law  what  the  pole  represents,  and  the  latter’s 
speaker  sets  forth  once  more  the  amount  of  property,  such  as  blankets, 
copper  bracelets,  food,  and  grease,  which  is  to  be  used  in  the  dance. 


Fig.  151. 

HEAD  RINGS  OF  MA'MAQ’A  OF  THE  LA'LASIQOALA. 

IV  A,  No.  6864,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  F.  Boas. 

Then  the  chief  representing  the  young  man  takes  the  pole,  lays  it  over 
his  shoulder,  and  runs  around  the  lire,  stooping  aud  crying,  u Whoo! 
whoo!  whoo!”  The  meaning  of  this  action  is  that  the  weight  of  the 
property  represented  by  the  pole  is  too  heavy  for  him  to  carry.  Then 
he  sings  the  following  song:1 

The  Spirit  of  the  Winter  Dance  came  down, 

The  Spirit  of  the  Winter  Dance  came  down  and  stays  here  with  me. 

Then  the  master  of  the  ceremonies  rises  and  orders  everyone  to 
bathe  early  in  the  morning  for  four  days  before  the  crows  begin  to  cry, 


Fig.  150. 

CLAPPER  OF  ME'ILA. 
Length,  inches 


IV  A,  No.  1005,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A. 
Jacobsen. 


^Appendix,  page  718. 


THE  KWAKIUTL  INDIANS. 


503 


Fig.  152. 

NECK  RING  OF  MA'MAQ’A. 
La'Lasiqoala. 

IV  A,  No.  6865,  Royal  Ethnographical  Museum,  Berlin.  Col- 
lected by  F.  Boas. 


and  thus  to  prepare  to  meet  Wlna/lag-ilis.  At  this  time  the  winter- 
dance  whistles  are  heard  for  the  first  time.  These  whistles  represent 
the  voices  of  the  spirits  of  the  winter  dance.  When  first  heard,  they 
appear  to  he  far  away  from  the  house  in  a northerly  direction.  The 

second  time  they  come  nearer  the 
house,  and  thus  they  are  heard  four 
times,  nearer  and  nearer.  This  in- 
dicates that  the  spirit  approaches 
the  village  from  the  north.  Finally, 
the  whistles  of  the  spirit  of  the 
cannibal  society  are  heard  near  the 
house.  Then  the  sound  is  heard  on 
the  roof  and  moves  around  it  four 
times.  At  this  time  the  son  of  the 
man  who  gives  the  festival  suddenly 
disappears  (xds’e't),  and  a few  min- 
utes later  he  is  heard  to  cry  in  the 
woods  uhap,  hap,  hap,”  the  sound 
which  is  ascribed  to  the  cannibal 
spirit  BaxbakualanuXshwae.  The 
master  of  ceremonies  asks  the  people 
if  they  know  the  meaning  of  all  this, 
and  another  chief  replies  that  Bax- 
bakualanuXsEwae  has  taken  the 
young  man  to  his  house  to  initiate  him  in  the  cannibal  ceremonies.  To 
this  the  master  of  ceremonies  replies  that  after  four  days  the  people 
are  to  assemble  again,  to  receive  the  orna- 
ments of  cedar  bark.  He  asks  them  to  sing 
their  summer  songs  during  this  time,  to  use 
their  summer  names,  and  to  make  merry,  be- 
cause as  soon  as  the  four  days  are  over  they 
will  be  forbidden  to  use  their  summer  names 
and  to  sing  their  summer  songs.  On  the  fol- 
lowing morning  when  the  crows  begin  to  cry, 
everybody,  young  and  old,  takes  a bath  in 
the  sea.  They  rub  their  bodies  with  hemlock 
branches,  in  order  to  clean  themselves  prepara- 
tory to  the  advent  of  the  spirit  Wma/lagdlis. 

On  the  evening  of  the  third  day  the  master 
of  ceremonies  distributes  plain  head  ornaments 
and  neck  rings  of  cedar  bark  among  twelve 
messengers,  who  must  blacken  their  faces  and 
go  to  the  houses  of  the  people  in  order  to 
invite  them  to  the  meeting  to  be  held  the 
following  day.  They  receive  in  payment  a button  blanket  from  the 
master  of  ceremonies,  which  is  not  returned.  Their  offices  are  not 
hereditary.  Persons  who  have  good  voices  are  selected  to  act  as 
messengers.  They  carry  in  their  hands  staffs  about  8 feet  long. 


Fig.  153. 

CARVED  HEAD  USED  IN  THE  T’O'- 
xuIt  DANCE. 

Height,  9 inches. 

IV  A,  No.  1348,  Royal  Ethnographical  Mu- 
seum, Berlin.  Collected  by  A.  Jacobsen. 


504 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


When  they  come  to  a house,  they  open  the  door  and  invite  the  people, 
the  women  first,  one  of  the  inmates  of  the  house  prompting  the 
speaker.  When  they  call  the  names,  they  staud  in  the  door  and  strike 
the  threshold  with  their  staffs.1  After  the  women,  the  ha/mats’a  is 
called,  and  then  the  other  men,  the  que'quts’a  last.  Then  the  speaker 
of  these  twelve  men  says,2 *  “ Is  that  all  The  people  reply,3  u That  is 
all.”  Then  they  call  a certain  relative  of  the  master  of  ceremonies  who 
has  the  name  Ts’ix-a'xtolsE’las.4  All  the  property  given  away  by  the 
master  of  ceremonies  is  given  in  honor  of  this  relative,  who  consequently 
is  of  high  rank.  He  or  she  receives  this  name  anew  every  year.  After 
the  messengers  have  called  the  people  by  their  winter  names,  they  are 
not  allowed  to  use  their  summer  names  again  until  the  ceremonies  are 

ended. 

By  this  time  the  people  begin  to  ar- 
range themselves  in  groups,  which  are 
divided  according  to  sex  and  age.  These 
take  the  place  of  the  clans,  as  described 
before. 

On  the  following  morning  before  day- 
light, the  same  twelve  men  visit  all  the 
houses  and  call  to  everybody:  u Don’t 
sleep!  Go  and  bathe  in  the  sea.  We 
are  walking  around  again  to  call  you.”5 
The  people  rise  and  at  once  plunge  into 
the  sea,  in  order  to  clean  themselves  for 
the  qap’ekuor  assembly, whichis  the  for- 
mal beginning  of  the  winter  ceremonial. 
Then  they  go  to  the  house  of  the  mas- 
ter of  ceremonies,  which  is  called  the  assembly  house.6  The  house  has 
been  prepared  for  this  purpose.  A heavy  cedar  plank  has  been  laid 
along  the  rear  wall  of  the  house,  and  another  one  along  each  side. 
These  are  used  for  beating  time.  The  door  is  surrounded  by  a ring  of 
hemlock  branches  which  is  covered  with  eagle  down,  so  that  everyone 
who  steps  into  the  house  must  pass  through  it.  When  passing  through 
it,  the  people  turn  to  the  left,  step  through  it  with  the  right  foot  first, 
and  then  turn  again. 

The  members  of  the  seal  society7  do  not  enter  the  house,  but  assem- 
ble in  another  house.  During  this  day  the  people  sing  and  make  merry 
until  after  dark.  Then  the  master  of  ceremonies  rises  and  calls  four 
officers  to  go  and  invite  the  seal  society.  These  offices  are  hereditary, 
and  the  men  who  perform  the  ceremonies  have  certain  names  which 


Fig.  154. 

CARVED  HEAD  USED  IN  THE  T’O'XUIT  DANCE. 

Height,  11  inches. 

TV  A,  No.  1349,  Royal  Ethnographical  Museum,  Berlin. 
Collected  by  A.  Jacobsen. 


1 They  say,  Iaqoisexai'  (follows  the  name). 

2Lamae  wi'la?  ;!Laam  wfla. 

4 qa  Ts’ix'a/xtolsE’lasah. 

5Wa  qoa/La’sxii  qa  s gug’iLta'lax-’itaos. 

Wa,  don’t  sleep,  go  to  roll  in  the  water. 

6 Qap’aya'tse. 

7Me/emaoat. 


La’mKnoX  qa'Tsistaa/i. 
We  walk  around  back  for  you. 


THE  KWAKIUTL  INDIANS. 


505 


belong  to  the  offices:  X-Tx-iqala,  of  the  Gue'tela  tribe ; Q’e'q’aqaualas, 
of  theWalas  Kwakiutl  tribe;  Loxsa/,  of  the  Ha/ialik-auae  clan,  and 
A'Lo’lsEla,  of  the  QWmoyue  tribe.  The  last  is  their  leader.  They  are 
called  pa/paxame  (head  paxalas).  One  of  these  men  must  be  a “ paxala” 
(shaman).  When  starting  each  takes  a round  rattle.  They  blacken 
their  faces,  put  on  their  head  rings  and  neck  rings  of  red  cedar  bark, 
and  cover  their  heads  with  eagle  down.  Then  their  speaker,  A'Lo’lsEla, 
says,  “We  are  goingto  fetch  onr  friends.”1  Then  they  go  around  the 
fire  four  times,  singing  as  follows:2 

O friend,  O friend,  O supernatural  friend  (meaning  Wina/lag-ills). 

Then  they  go  to  the  house  in  which  the  seal  society  is  waiting  for 
them.  Meanwhile,  the  master  of  ceremonies  calls  up  four  other  officers 
to  invite  the  highest  members  of  the  seal  society,  the  ha/mats’as.  These 
offices  are  also  hereditary.  The  names  of  the  officers  are:  K-a/qauLeE, 
of  the  Kue'xa  tribe;  Me'goatExstala,  of  the  same  tribe;  K-ex-,  of  the 
Maa'mtag-ila  clan;  and  Xa/wulqalag-ilis,  of  the  Kue'xa  tribe.  The  first 
three  names  are  que'qutsa  names,  the  last  is  a ha'mshamts’ES  name. 
He  is  the  leader  of  these  four  messengers.  They  are  also  called  pa'pa- 
xame  (head  paxala),  and  there  must  be  one  “paxala”  (shaman)  among 
them. 

The  master  of  ceremonies  gives  them  tallow.  The  ha'mshamts’ES 
puts  some  of  it  into  his  mouth,  chews  it,  and  then  rubs  it  all  over  his 
face,  while  the  others  simply  rub  it  on  their  faces  without  chewing. 
Each  is  also  given  a cedar  bark  ring,  charcoal,  feathers,  and  a round 
rattle.  They  all  wear  que'qutsa  rings.  After  they  have  received  the 
ornaments,  they  say,  “We  will  go  and  fetch  our  great  friends.”3  They 
walk  four  times  around  the  fire,  singing:4 

You  said,  Wina/lag-ills,  that  I should  capsize  in  rough  weather.  Your  friend 
stayed  here  long  in  my  canoe  near  the  beach.  You  said  that  I should  capsize  in 
rough  weather,  but  your  friend  capsized  sleeping  while  it  was  rough  weather.5 

Then  they  walk  around  the  fire,  go  on  their  errand,  and  after  about 
fifteen  minutes  the  eight  men  who  were  sent  to  fetch  the  seal  society 
and  the  ha/mat7sas  return,  and  A'Lb’lsEla  sings:6 

BaxbakualanuXsi'wae  told  me  about  the  great  supernatural  means  of  killing  people 
with  my  teeth. 


1La?mEnoX  laL,  pe'paxalai',  axLExans  ne'nEmokua. 

We  go,  shamans,  we  fetch  our  friends. 

2 Appendix,  page  718. 

3La’menoX  laL,  pe'paxalai7,  axLExans  nenEmo'xtse. 

We  go,  shamans,  we  fetch  our  great  friends. 

4 Appendix,  page  719. 

5This  song  refers  to  a man  named  Eix-’ag-ida/lag-ills  who  met  Wina/lag-ills.  The 
latter  asked  him:  “Are  you  a shaman ?”  He  replied  in  the  affirmative,  and  con- 
tinued: “Can  you  cross  here  without  upsetting  your  canoe?”  “Yes,”  retorted 
Wina/lag-ills.  “Then  let  me  see,”  said  the  former.  “If  you  suceeed,  I will  cross 
next.”  When  Wina/lag-ills  tried  to  cross,  he  capsized.  Then  Eix-’ag-ida'lag-ills 
sang  the  above  song.  A translation  is  very  difficult,  and  the  sense  is  by  no  means 
certain. 

6 Appendix,  page  720. 


506 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


The  four  men  who  went  to  fetch  the  seal  society  enter  first.  Those 
who  went  to  fetch  the  ha'mats’as  follow  them.  Before  they  enter,  the 
people  who  are  assembled  in  the  house  clear  their  throats,  as  they  are 
not  allowed  to  cough  or  to  laugh  after  the  seal  society  have  entered. 
When  the  messengers  enter,  A'Lo’lsEla  says,  “ Our  friends  are  coming.”1 

Now  Nawulqa'lag-ilis  says,  “Take  care, 
our  great  friends  are  coming.”2 

Then  the  four  men  who  called  the  seals  sit 
down  in  the  left-hand  front  corner  of  the 
house,  the  others  in  the  right-hand  front 
corner.  Now  everybody  looks  at  the  door 
where  the  fool  dancers  (noo^LEmaLa)  enter 
first.  They  strike  the  door  with  their  swords 
or  lances,  open  it,  and  stand  in  the  doorway. 
Their  faces  are  blackened,  they  wear  torn  and 
soiled  clothing.  Their  heads  are  strewed 
with  eagle  down.  If  anyone  laughs  or 
coughs,  the  fool  dancer  steps  up  to  him  and 
threatens  him  with  his  sword  or  lance.  Then 
the  fool  dancers  turn  one  by  one,  go  to  the 
right  around  the  fire,  and  sit  down  on  their 
seats.  Their  places  are  at  both  ends  of  those 
of  the  seal  society,  as  they  are  the  guards 
of  the  society.  Then  all  the  other  mem- 
bers of  the  society  enter,  each  group  by 
themselves,  and  each  dressed  in  their  proper 
ornaments  of  red  cedar  bark.  They  stand 
in  the  doorway  for  a short  time,  and  then 
go  to  their  places,  turning  to  the  right  and 
going  around  the  fire.  The  ha'mats’as  are 
the  last  to  enter.  They  are  preceded  by  the 
grizzly  bear  dancers,  whose  faces  are  black- 
ened. They  wear  blankets,  and  bear  claws 
on  their  hands.  If  there  happens  to  be  an 
odd  number  of  these,  one  of  their  number 
goes  to  the  rear  of  the  house.  The  others  re- 
main at  the  door  and  look  around  among  the 
assembly.  Then  they  divide  into  two  parts, 
forming  two  rows,  one  on  each  side  of  the 
door.  Now  the  ha'mats’as  enter  and  pass  between  the  two  rows  of  bear 
dancers,  which  close  behind.  The  ha'mats’as  step  up  to  the  fire  and, 
standing  side  by  side,  face  the  rear  of  the  house.  There  they  stand  for 
about  ten  minutes,  during  which  time  nobody  is  allowed  to  move. 
Then  the  master  of  ceremonies  rises  and  makes  a speech  in  a very  low 
voice,  in  which  he  warns  the  people  to  be  careful  and  not  to  offend 
the  ha'mats’as.  The  latter  turn  to  the  right  and  walk  slowly  to  the  rear 


Fig.  155. 
d’e'nts!q. 

Height,  7 feet ; black,  white. 

IV  A,  No.  1129,  Royal  Ethnographical  Museum, 
Berlin.  Collected  by  A.  Jacobsen. 


1 Gr-a/x’am  g-ins  nenEino'kuiX,  pepaxalai'. 

2 We,  q’a/qameLax,  pepaxalai'  g*a/x’am  g-in  nenEinoktsek-. 


THE  KWAKIUTL  INDIANS. 


507 


of  the  house,  holding  their  blankets  in  a fold  over  their  arms,  which  are 
held  at  some  distance  from  their  chest.  If  any  one  coughs  after  the 
ha/mats’as  have  entered,  the  bear  steps  up  to  him  and  threatens  him. 
The  offender  must  give  a feast  to  the  seal  society;  sometimes  also  to 
the  que'qutsa.  The  ha/mats’as  sit  down  in  the  middle  of  the  rear  of  the 
house.  Next  to  them  on  both  sides  sit  the  bear  dancers;  next  to  these 
the  other  groups  of  the  seal  society.  Then 
the  master  of  ceremonies  asks  the  four  mes- 
sengers who  went  to  invite  the  members  of  the 
lower  grades  of  the  seal  society  to  fetch  tallow 
and  white  cedar  bark.  The  four  men  rise 
together  and  A'Lb’lsEla  says : “ We  go  to  lift 
our  grandfather  from  the  floor.”1 

All  the  ceremonial  objects  which  are  ac- 
quired by  inheritance  are  called  “ grand- 
father.” The}r  are  kept  in  four  boxes  in  the 
right-hand  front  corner  of  the  house.  When 
the  men  lift  them,  the  ts’a/eqa  spirits  enter 
them,  making  them  hungry.  This  is  ex- 
pressed in  their  song,  which  they  sing  while 
walking  around  the  fire  and  carrying  the 
boxes  containing  the  tallow  and  cedar  bark:2 

This  is  what  makes  us  confused. 

They  carry  these  boxes  four  times  around 
the  fire  and  then  stop  in  front  of  the  ha'mats’as, 
to  whom  they  give  some  tallow  and  cedar  bark. 

They  continue  to  distribute  it,  two  men  going 
to  the  right  and  two  going  to  the  left  until  they 
meet  at  the  door. 

Then  the  master  of  ceremonies  calls  the  same 
messenger  who  went  to  fetch  the  ha/mats’as: 

“Come,  friends,  and  lift  from  the  floor  your 
grandfather.”3 

They  rise,  walk  around  the  fire  four  times, 
and,  standing  close  to  the  door,  the  speaker 
says,  “We  are  going,  friends,  to  lift  our  grand- 
father,”4 which  means  in  this  case  the  drum. 

Then  they  turn  to  the  right  and  walk  out  of 
the  house.  After  about  ten  minutes,  they 
are  heard  to  return  singing,  and  enter  holding 
each  one  corner  of  the  drum.  They  sing:5 


FIGURE  REPRESENTING  THE  NO'N- 
LEMG’ILA. 

Height,  34^  inches. 

IV  A,  No.  1031,  Royal  Ethnographical  Museum, 
Berlin.  . Collected  by  A.  Jacobsen. 


BaxbakualanuXsI'wae  said  lie  would  make  me  go  through  his  own  house. 


1 LamEnoX  laL  dag-iliL&L  g-anoX  qa'qEmpk’a. 

3 Appendix,  page  720. 

3Qe/lag,a  neuEmo'k11  eitale'Lax  qa  s laos  la/xis  qa/qempdaoxoos. 

Come,  friends,  again  off  floor  for  go  your  to  your  grandfather. 

4La’menox  laL  neuEmo'k11  qa  g’a/xlag’ISEns  qa/qemp. 

5 Appendix,  page  721. 


508 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


They  remain  standing  near  the  doorway,  then  turn  to  the  right' and 
go  four  times  around  the  fire,  and  put  down  the  drum.  As  soon  as  they 
do  so,  the  small  (ts’e'tsaeqa)  winter  dance  whistles  are  heard  to  blow. 
The  men  say,  “ That  is  a good  sign  for  us,  friends.”1 

The  master  of  ceremonies  next  calls  the  four  men  who  called  the  seal 
society,  saying,  “Come,  friends,  go  and  fetch  our  batons.”2  They  do 
not  reply,  but  begin  to  sing  their  secret  song,  going  around  the  fire  four- 
times  and  swinging  their  rattles:3 

I  am  the  only  one  who  owns  the  winter  dance. 

They  walk  out  of  the 
house  and  continue  to  sing 
until  they  come  back,  car- 
rying the  batons  on  their 
left  arms.  They  go  around 
the  fire  and  put  the  batons 
down  in  front  of  the  people, 
beginning  with  the  ha/- 
mats’as,  and  continuing  on 
both  sides  until  they  reach 
those  who  sit  nearest  the 
door. 

Then  the  master  of  cere- 
monies calls  upon  the  four 
men  who  fetched  the  ha/- 
mats’as,  saying,  “Come, 
friends,  take  up  our  red 
cedar  bark  here.”4  They 
rise,  and  their  speaker  re- 
plies in  a low  voice,  “Now 
I am  going  to  take  up 
this  red  cedar  bark,  your  great  real  friend.”5  They  all  sing  together:6 

BaxbakualanuXsI'wae  made  me  a winter  dancer. 

BaxbakualanuXsI'wae  made  me  pure. 

I do  not  destroy  life,  I am  tke  life  maker.7 

Then  they  walk  out  singing,  and  come  back  singing  the  same  song 
and  carrying  the  red  cedar  bark  under  their  left  arms.  They  bring  it 
in  a long  bunch,  about  12  feet  in  length  and  more  than  a foot  thick. 
One  man  carries  it  in  front,  two  in  the  middle,  one  at  the  end.  They 
carry  their  rattles  in  their  right  hands.  On  entering,  they  turn  round 

1 HairaxaliLxoLEns  nenEmo'k?. 

2 Qe'laXdaoX  la'g-a  nenEm6/ku  qans  tVmiayuLa. 

3 Appendix,  page  721. 

4 Qe'lag-a  nenEmo/ku  da/g-iliLax  xgins  L;a/qaquk\ 

5Eismae/iLEn  da/g-iliLax  g-as  L’a/qaq  g-aos  nenEmoxtsek-as. 

6 Appendix,  page  722. 

7 This  song  is  also  used  by  the  pa'xalas  in  their  incantations. 


Cat.  No.  129512,  U.  S.  N.  M.  Collected  by  F.  Boas. 


THE  KWAKIUTL  INDIANS. 


509 


together  so  that  the  cedar  bark  makes  a full  turn,  go  round  the  fire  to 
the  right,  and  turn  again  in  the  rear  of  the  fire.  Thus  they  go  around 
the  fire  four  times.  They  stop  in  the  right-hand  front  corner  of  the  house. 

The  master  of  ceremonies  now  proceeds  to  prepare  the  floor  of  the 
house  for  the  ceremonies,  or  “to  put  the  naualak  into  the  floor.’7  He 
gives  slow  jerks  downward  with  his  round  rattle,  say- 
ing with  each  movement,  “op,”  and  stooping  down  to 
the  floor.  This  is  the  song  of  Hai'alik-auae,  the  first 
shaman.  Thus  he  goes  around  the  fire  once,  and  then 
he  sings  his  secret  song:1 

1.  My  mind  is  not  strong  enough  (to  lift  it). 

2.  My  mind  is  afraid  of  it.'2 

3.  I have  seen  the  winter  ceremonial. 

After  he  has  finished  his  song,  Na/wulqalag’ihs 
stretches  his  hand  backward,  and  somebody  puts, 
unnoticed,  a knife  into  it.  This  he  gives  to  the 
master  of  ceremonies,  who  steps  up  to  the  four 
men  who  hold  the  cedar  bark.  Three  times  he  pre- 
tends to  cut  it,  and  after  each  cut  makes  one  turn  to 
the  left.  The  fourth  time  he  really  cuts  through  it, 
and  at  the  same  time  the  sound  of  whistles  is  heard 
proceeding  from  the  ce- 
dar bark.  After  it  is  cut, 
the  master  of  ceremo- 
nies distributes  it,  giv- 
ing the  ha/mats?as  first 
their  part,  then  to  the  other  members  of  the 
seal  society,  and  finally  to  the  que'qutsa. 

He  then  calls  to  the  men  who  brought  the 
members  of  the  seal  society,  “Bring  us  our 
down,  friends.”3  They  then  bring  the 
dishes,  each  man  carrying  one  dish.  Then 
he  sends  them  in  the  same  way  to  bring 
the  tallow.  After  he  has  received  all  the 
dishes,  he  calls  up  the  four  men  again  and 
sends  them  to  all  the  people  who  are  as- 
sembled in  the  house,  in  order  to  ask  if  there  is  anyone  who  desires  to 
join  in  the  celebration  of  the  winter  dance — that  is  to  say,  if  there  is 
another  man  ready  to  act  as  ye'wixdla  during  the  same  ceremonial. 
He  asks,  “Who  is  the  one  to  whom  the  seal  society  will  go?”1 * 3 4 

The  notice  in  the’ beginning  of  the  festival  is  given  in  order  to  enable 

1 Appendix,  page  723. 

3Meaning  the  ceclar  hark  ornaments,  in  which  the  power  of  the  winter  ceremonial 
is  vested. 

3 G'a/xlax’ins  qa'mxuaLaEns  nenEmo'k11. 

4A/nguela  a/ita  lawultsanEmLa’sa  le  laenenok11. 


IV  A,  No.  1129  1,  Royal  Ethnographical  Museum, 
Berlin.  Collected  by  A.  Jacobsen. 


FIGURE,  WITH  MOVABLE 
ARMS  AND  A BIRD  SIT- 
TING ON  ITS  HEAD,  REP- 
RESENTING THE  NO'N- 
LEMG’ILA. 

From  a sketch  made  at  the 
World’s  Columbian  Exposi- 


510 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


the  people  to  get  ready  for  a ye'wixila.  The  celebration  is  not  consid- 
ered perfect  unless  a number  of  men — among  the  Kwakiutl  one  of  each 
tribe — act  as  ye'wixdla  in  the  same  ceremonial.  When  a man  expresses 


Fig.  160. 

HEAD  OF  NO'NLEMG’ILA. 

Height,  10^  inches. 


his  readiness  to  join,  the  people  go  to 
his  house  after  the  qap?e;ku.  Then 
one  of  the  relatives  of  the  second 
ye'wix-ila  is  taken  to  Wlna/lag-ilis 
by  the  ha/mats’a,  as  will  be  described 
later  on.  There  are  as  many  feasts 
that  day  as  there  are  new  ye'wix-ila. 

To  return  to  the  qap7eTtu.  The 
master  of  ceremonies  takes  one  of 
the  dishes  with  feathers  and,  singing 
his  secret  song, — 

1.  My  mind  is  not  strong  enough, 

2.  My  mind  is  afraid  of  it, 

3.  I have  seen  the  winter  ceremonial,1 — 


IV  A,  No.  6892,  Royal  Ethnographical  Museum,  Berlin.  Col-  gOeS  arOUnd  the  fire  fOUl"  tiltieS,  fol- 

lowed  by  the  four  men,  who  carry  the 
dishes  with  down.  In  the  rear  and  in  the  front  of  the  fire  they  all 
turn  once.  Then  the  master  of  ceremonies 
returns  the  dish  to  the  four  men  and  orders 
them  to  distribute  the  feathers:  “Go  and 
leather  our  great  friends.”2 
The  men  begin  again  with  the  ha/mats’a 
and  feather  the  heads  of  the  people,  begin- 
ning in  the  middle  and  proceeding  toward 
both  ends.  Then  they  distribute  tallow  and 
batons  in  the  same  way. 

blow  the  master  of  ceremonies  puts  on  his 
head  ring,  which  consists  of  a flat  strip  of 
cedar  bark,  to  which  a long  trail  of  the  same 
material  is  attached.  Again  he  sings  his  se- 
cret song  and  goes  around  the  fire  four  times 
swinging  the  rattle,  which  he  holds  approxi- 
mately at  the  height  of  his  head.  During 
this  song  the  people  bend  their  heads  down 
and  move  on  their  seats  in  order  to  gain  a 
convenient  position.  They  hold  their  batons 
ready  for  use.  After  the  master  of  ceremo- 
nies has  gone  around  the  fire  four  times,  he 
stops  in  front  of  the  ha'mats’as  and  says 
“wai,  wai,”  at  the  same  time  thrusting  his  rattle  forward.  At  this 
signal  the  people  look  up  and  begin  to  beat  the  boards  for  about  ten 
minutes,  during  which  time  the  master  of  ceremonies  shakes  his  rattle. 


Fig.  161. 

HEAD  DRESS  OF  O'LALA. 
La'Lasiqoala. 

IV  A,  No.  6871,  Royal  Ethnographical  Museum, 
Berlin.  Collected  by  F.  Boas. 


See  page  509. 


2Ha/g,a  qa/mx’uit  xans  nenEino'Xtse. 


THE  KWAKIUTL  INDIANS. 


511 


Then  he  swings  the  rattle  in  a wide  circle,  thus  giving  a signal  for  the 
people  to  stop.  During  the  following  minutes  not  a sound  is  heard 
except  from  the  shamans,  who  utter  from  time  to  time  the  sound  “h,h,” 
deep  from  the  throat.  This  means  that  they  are  watching  to  see  if  the 
people  make  a mistake  or  transgress  any  of  the  rules.  After  about  ten 
minutes  the  master  of  ceremonies  gives  a new  signal  for  the  people  to  beat 
the  boards.  After  ten  minutes  more  they  stop  again.  Then  everyone 


Fig.  162. 

HEAD  KING,  NECK  RING,  AND  WHISTLE  OF  TS’E'K’oiS. 

IV  A,  Nos.  6860  and  6861,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  F.  Boas. 


begins  to  sing  his  own  secret  song,  all  at  the  same  time,  which  is  a sign 
that  the  spirit  of  the  winter  dance  has  entered  the  house.  Then  all  the 
que'qutsa  divide  according  to  their  societies. 

After  this  the  master  of  ceremonies  gives  another  signal  and  all  the 
men  begin  to  beat  the  boards  again  as  hard  as  possible  and  at  the  same 
time  the  bear  dancers  utter  their  cries.  The  fool  dancers  are  heard  to  cry 
u wai ! hai ! hai !”  throwing  stones  and  swinging  their  swords  and  lances 
at  the  same  time.  The  master  of  ceremonies  gives  a new  signal,  and 
all  the  people  stop  at  once  beat- 
ing the  boards.  Then  the  bear 
dancers  and  fool  dancers  look 
down,  and  all  the  que'qutsa 
sing  again  each  their  own  se- 
cret song.  When  the  master 
of  ceremonies  gives  the  fourth 
signal  for  beating  the  boards, 
the  whistles  of  the  ha/mats’as 
are  heard  in  the  house.  Then 
all  the  ha'mats’as,  bears,  and  fool  dancers  rise  and  drive  the  people 
before  them.  While  they  are  doing  so  they  take  hold  of  a child  of 
the  second  ye'wix-ila;  the  child  drops  his  cedar  bark  ornaments  and 
blankets  and  disappears  in  the  woods.  Then  the  members  of  the 
seal  society  go  out  of  the  house  followed  by  the  people.  Now  the 
second  ye'wix-ila  cleans  his  house  and  invites  all  the  people  to 
enter.  He  puts  down  boards  in  front  of  the  people  and  distributes 


Fig.  163. 

HEAD  RING  OF  Sl'LtS. 
Front  and  rear  views. 

IV  A,  No.  6873,  Royal  Ethnographical  Museum,  Berlin. 

F.  Boas. 


512 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


batons  among  them.  At  the  same  time  trumpet  whistles  are  heard  to 
blow  in  his  bedroom.  When  the  people  have  assembled  in  his  house, 
the  master  of  ceremonies  says,  “Let  us  try,  friends,  to  drive  away  the 
supernatural  being.  He  has  carried  away  enough  of  our  number/’1 
The  people  reply,  “Gome,  friend,  no  one  is  stronger  in 
supernatural  pow6r  than  you  are.”2  Then  all  the  other 
men  say  one  after  the  other,  “Let  us  go  on  the  floor 
and  beat  time.”3  Then  they  all  (men,  women,  and 
children)  get  ready  to  sing  the  old  song  which  is  sup- 
posed to  drive  the  spirits  away.  They  cry  “ye  heee 
hu  liu  hu  ye  heee!”  This  is  the  song  of  the  wolf. 
After  this  song  the  master  of  ceremonies  says,  “That 
is  wrong.”4  Now  they  utter  the  bear’s  cry : “Hamarna 
ma  ma,  hamamai.”  Again  he  says,  “That  is  wrong.” 
The  people  next  utter  Habalik-auae’s  sound,  “wo  ip 
kf  wo-ip  kf  wo-ip”  (kf  blown  upward).  They  continue 
this  for  about  five  minutes.  The  whistles  continue  to 
blow,  and  the  master  of  ceremonies  says  again,  “That 
is  wrong ! That  is  wrong ! Let  us  sing  another  song.” 
Now  they  sing  “woi,  woi,  woi,”  which  is  also  Habali- 
k-auae’s  song.  After  this  song  the  whistles  stop,  and 
at  the  order  of  the  master  of  ceremonies  they  sing  the 
first  song  of  the  winter  dance:5 


Fig. 164. 

WEAPON  OP  A' ! ML  ALA. 
From  a sketch  made  at  the 
World’s  Columbian  Exposi- 
tion. 


Wo,  wo,  ai,  a,  ai,  really  tormenting,  ai,  ai  really  tormenting. 

Just  before  the  end,  the  master  of  ceremonies  joins  the  chorus,  crying 
“o  hu,”  and  all  the  people  shout  “wa!”  hitting  the  boards  together, 
which  is  believed  to  be  a means  of  driving  away  the  spirits.  This  song 
is  sung  four  times.  Then  the  speaker  of  the  second  ye'wixula  says: 

“Friends,  be  happy.  I received  the  name from  the  supernatural 

being.”  6 

Then  all  the  people  reply:  “ You  received  your  great  name  from  the 
supernatural  being.”7 *  After  this  the  speaker  continues,  saying  that 
the  people  ought  to  be  glad  to  hear  the  old  songs  and  to  have  seen  the 


'We'g'a  xdns  gwa'nx’Tta,  ne'nEmok0,  la’mEns  he'UoLas  yisox  na'walakuex, 

Let  us  try,  friends,  we  lie  lias  enough  this  naualak. 

La  me'sEns  weg-iLtsEns  qa/qEmp. 

We  will  try  our  grandfather. 

2We'gfa,  ade',  we'g*a  qaste'  nau'alakoaqalasos. 

3We/g*a  hakg-iliL  la  a'ma. 

4La,me  Le'qoa. 

Appendix,  page  723. 

6Wa  nenEmo'k11!  &/lag-a  ama  x*I  aik’e's  ne'ndqex'daox.  No'gua  am 

Wa,  friends!  Only  be  happy  ;your  hearts.  Iam  

g-a/g’ax’as  naiTalak". 
coming  from  naualak". 

7SotsaeL  g*a/g'ax’as  nau'alaku.  La'me  q’a'paloL, 

You  great  coming  from  naualak.  It  hit  you. 


THE  KWAKIUTL  INDIANS. 


513 


red  cedar  bark,  and  says,  u Let  us  tame  our  friends,  else  we  can  not 
eat  in  peace.1  Then  the  people  sing  the  song  which  is  supposed  to 
tame  the  nu/LmaL  and  the  bears.2 


1.  Great  is  tlie  fury  of  these  great  supernatural  ones. 

2.  He  will  carry  men  on  his  arms  and  torment  them. 

3.  He  will  devour  them  skin  and  hones,  crushing  flesh  and  hone  with  his  teeth. 


After  the  song  the  ye'wix-ila  makes  another  speech,  and  promises  to 
give  a feast  early  the  next  morning,  saying:  u Friends,  how  beautiful 
have  I been  made  by  the  supernatural  being.  I shall  give  dried 
salmon  for  all  of  us  and  for  our  women.”3 * * * *  And  all  reply  u wa,  wa.” 
Early  the  next  morning  he  calls  the  people  into  his  house.  They  take 
their  seats,  and  are  first  given  a meal  of  dried  salmon  and  grease 


Length,  4 feet;  each  slab,  4 inches. 

IV  A,  No.  869,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 


(ts’a/gfisa^to  lay  foundation  in  belly).  They  sing  four  songs  for  the 
first  course, — ha/mats’a  songs  if  the  child  of  the  ye'wixdla  is  to  become 
a ha/mats’a.  After  that  they  are  given  dried  berries  (hefiLg^anEin^ 
making  good  on  top  of  salmon).  Four  more  songs  are  sung  for  this 
course.  Then  the  second  ye'wix-ila  says:  u Friends,  this  is  the  way 


! Weg'a  x*ins  yo'i/it  lax  gflns  nenEmo'kua,  a/LEns  k*'es  lax  na/qamEnsEla  lax 
Goon!  We  tame  then  our  friends,  else  we  not  swallow  straight 

ha’ma/p  lax. 
this  food. 

2 Appendix,  page  706.  See  also  page  471. 

3Wa,  nenEmo'k11!  ifEto'west’a  g-a/x’asas  nau'alakua.  T'e'Lalasa 

Wa,  friends ! how  nice  I am  he  came  to  me  naualak.  Dry  salmon  soaked  in  water 

qastii  nenEinokua/i;  .naxuaLaamLEnsa'i  LaVuns  aLe'k'ilaxa. 

for  friends;  all  of  us  and  our  those  in  hack  (women). 


NAT  MUS  95 33 


514 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


we  always  do;  please,  friends,  pay  the  small  debts  which  are  due  me 
and  refund  the  amount  I gave  for  my  wife.  That  is  all.”1 
In  this  feast  he  gives  a new  name  to  his  relative  who  had  been  taken 
away  by  the  ha/mats’a.  On  the  same  day  the  people,  who  are  divided 
according  to  the  societies  enumerated  above,  go  to  every  house,  and 
keep  on  feasting  and  singing  until  morning. 

During  this  time  the  ha'mats’as  are  in  a state  of  excitement,  and 
occasionally  bite  some  of  the  people.  On  the  following  morning  the 


first  ye'wixdla  invites  the  people  to  a feast.  He  sends  the  maa'mx’enox 
as  his  messengers,  who  dress  up  and  go  to  every  house,  where  they 
call  the  women  first,  then  the  seal  society,  and  finally  the  que'qutsa. 
After  they  have  gone  through  the  whole  village,  the  d’o'd’opa  (p.  419) 
are  sent  to  go  to  every  house  to  invite  the  people  again.2  Next  the 
LaLaLg’u  ( ?)  repeat  the  invitation.  When  they  come  back,  they  say, 
“Ho  one  took  notice  of  us.”3  Then  the  ye'wix-ila  says  u I will  send  the 


Fig. 167. 

BELT  OF  SI'SIUL. 

Length,  5 feet. 

Royal  Ethnographical  Museum,  Berlin. 

Koskimo.”4  They  dress  and  tie  their  blankets  high  up  so  that  they  do 
not  quite  reach  to  their  knees,  leaving  the  right  arm  and  shoulder  free, 
the  blanket  being  thrown  over  the  left  shoulder.  They  blacken  their 

1 Wa  nenEmo'k11  haeq’a/maaxs  Soe'k-’  alase.  Laxdadx  Ems  nenEmo'ku 

Friends,  that  is  the  way  we  always  do,  speaking  You  friends 

waax’aiLasEn  g’a/g'imeoL  Lawun  ts’a/ts’dmayoen  qa  En  qEnE'm ; haimeqa/i. 
please  pay  my  small  debts  and  my  what  I gave  for  wife  small  my  wife;  that  is  all. 

2 Calling  in  the  door  of  each  house:  Etsestaai'. 

3K*,eTsEmEnoX  q’a/tsEya. 

No  one  us  take  notice. 

4LaTax’a  Qo'qdskimuX. 


THE  KWAKIUTL  INDIANS.  515 

faces,  take  their  staffs  (que'sp’eq)  and  call  in  a lond  voice,  striking  the 
walls  of  the  houses  with  their  staffs,  “The  Koskimo  want  to  eat.”1 
They  walk  through  the  village,  driving  the  people  before  them  with 
their  staffs,  until  they  reach  the  house  of  the  ye'wix-ila. 

As  soon  as  all  the  que'qutsa  have  assembled  there,  the  master  of 
ceremonies  rises  and  asks  if  they  are  all  in  the  house.2  He  sends  one 
man  out  to  see,  saying  “Go  and  see.”3  The  messengers  return  and 


Fig. 168. 

KNIFE  OF  HAWI'NALAL,  REPRESENTING  THE  SI'SIUL. 

Length,  5 feet,  3 inches ; white,  red. 

IV  A,  No.  874,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 

some  will  say,  u They  are  not  all  here,”  referring  to  the  absence  of  the  seal 
society,  while  others  will  say,  “ Don’t  let  them  come,  else  we  shall  be 
troubled.”4  The  people  reply,  “ Lock  the  door  against  them,”5  and  they 
send  the  chief  of  the  Koskimo,  the  Qoe'same-fchief  que'qutsa),  to  shut 
the  door.  After  he  has  done  so  he  returns,  and  the  people  say,  “Are 
you  not  afraid  of  the  ha'mats’as?”  He  says,  “No,  why  should  1 be 


Fig. 169. 

KNIFE  OF  HAWI'NALAL,  REPRESENTING  THE  Sl'SIUL. 

Length,  24£  inches. 

IV  A,  No.  558,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 

afraid  of  them?”6  But  as  soon  as  he  has  said  this,  all  the  ha/mats  a* 
are  heard  on  the  roof  of  the  house,  and  the  people  cry,  “ Let  us  go  oui . ' 

^a  L^nk-a  g-a/nem  Lasg’a  Qo'qdskimoxuik*. 

Ah,  satiated  will  he  these  Koskimo  here. 

2Laxda6xmaans  welaeL? 

Are  we  in  house  ? 

3Ha/g*a  do7  X’uit. 

4Qoa/L  tsa  sTg*a/xa,  a/LEns  q’e'q’aeqalala. 

6Lanek'o  xLelag'aqe'. 

6Aisas  k'i/LEla  sa  me'emqoat?  K/e'sEn;  or:  nia/tsEnleiLa  g-iLElaL’Es? 

Are  you  not  afraid  of  seals  ? Kot  I,  or,  Why  should  I afraid  of  them  ? 

7Wai/g-a  x*lns  hauqau’Elsa. 

, Let  us  go  out. 


516 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


rig. 170. 

MASK  OF  XOA'EXOE. 
From  a sketch  made  at  the  World’s 
Columbian  Exposition. 


They  rush  to  the  door,  but  as  soon  as  it  opens  the  bears  and  fool 
dancers  come  in  and  prevent  them  from  leaving  the  house.  The  people 
ask  each  other  where  these  people  came  from,1  or,  “You  ugly  thing, 
where  did  you  come  from!”2  and  try  to  hit  their 
noses  with  sticks.  The  bears  wear  head  rings  of 
red  and  white  cedar  bark.  Their  faces  are  painted 
black,  showing  an  enormous  mouth  set  with  teeth 
and  stretching  from  ear  to  ear.  They  have  bear’s 
claws  on  their  hands.  The 
fool  dancers  have  their  faces 
blackened  all  over.  They  wear 
red  cedar  bark.  Their  cloth- 
ing is  ragged  and  torn. 

Now  the  people  say,  “Let 
us  drive  them  out!”3  As 
soon  as  they  try  to  do  so,  the 
ha/mats’as  jump  down  from  the  roof  and  drive  the 
people  before  them.  The  bears  and  fool  dancers 
get  excited  at  the  same  time,  and  finally  drive  the 
people  out  of  the  house  and  down  to  the  beach. 

The  ha/mats’as,  bears,  and  fool  dancers  pursue 
them.  At  last  they  drive  them  into  the  sea  and 
keep  them  standing  in  the  water  until  they  promise 
them  the  best  food  they  have  in  their  house.  Then 
the  seal  society  return  to  the  lo'bEk"  or  the  house  of  the  first  ye'wix*- 
ila,  while  the  que'qutsa  enter  the  house  of  the  second  ye'wix-ila. 

Here  the  men  take  their  seats  according 
to  the  societies  to  which  they  belong. 
When  they  are  giving  a feast  here,  they 
send  four  dishes  of  each  course  to  the 
ha/mats’a.  This  is  called  making  the 
ha/mats’a  eat  first.4  The  food  is  carried 
to  the  ha'mats’a  by  four  messengers,  who 
are  what  is  called  qoe'tse’sta;  that  means 
people  who  were  seals,  and  try  to  become 
que'qutsa.  They  alone  are  allowed  to 
enter  the  lo'bEk  u. 

The  people  are  not  allowed  to  eat  until 
these  messengers  come  back  and  report  that  the  ha/mats’as  have  eaten. 
If  anybody  desires  to  give  a feast,  he  announces  this  by  calling  upon 
one  of  his  children  to  dance  a winter  dance,  and  says,  “Come,  my 


Fig. 171. 

MASK  OF  XOA'EXOE. 

Height,  12J  inches. 

IV  A,  No.  420,  Royal  Ethnographical 


Museum,  Berlin. 
Jacobsen. 


Collected  by  A. 


Fig.  172. 

RATTLE  OF  XOA'EXOE. 

IV  A,  No.  1838,  Royal  Ethnographical  Museum,  Ber- 
lin. Collected  by  A.  Jacobsen. 


‘MainoXtsoX? 
sWi'tsEB  tsoL  tsas. 

3 Waig-a  x-ins  k-a'yuwulsoq. 

Let  us  drive  them  out. 

4 G'ilq’asamas  laxa  ha/mats’a. 


THE  KWAKIUTL  INDIANS. 


517 


CEDAR  BARK  BLANKET  OF  HAl'ALIK-  AUAE,  SHOWING  HAl'ALIK-  AUAE 
AND  TWO  KILLER  WHALES,  PAINTED  IN  RED. 

Cat.  No.  175487,  U.  S.  N.  M.  Collected  by  F.  Boas. 


children $ come  to  the  fire,  that  you  may  help  the  people  swallow  their 
food  by  your  dancing.” 1 

Ii  in  any  of  these  speeches  a man  should  use  a ba/xus  (profane)  name 
of  a person,  all  the  people  cry  out  at  once,  and  he  must  sit  down.  He 
may  even  be  punished  by 
the  fool  dancers. 

The  promised  feast  is 
given  in  the  evening. 

The  host  sends  the 
maa'inx’enox  to  call  the 
people  to  come  to  his 
house  on  the  following 
mornin  g.  They  rise  early 
and  go  in  a body  from 
house  to  house  calling 
everybody  uutil  all  the 
people  are  assembled  in 
the  house  of  the  second 
ye/wix-ila.  The  host 
sends  the  same  four  mes- 
sengers with  four  dishes 
of  each  course  to  the  seal  society  or  ts’a'ts’aqamtsEn  (i.  e.,  the  ts’e'ts’aeqa 
people),  and  the  people  ask  him  to  send  them  quickly  that  all  may  get 
their  food. 2 The  host  sends  four  of  the  Koskimo  with  the  food. 

The  lia/mats’as  will  keep  these 
messengers  waiting  for  hours  to 
tease  the  people.  Then  four  more 
Koskimo  are  sent  to  see  what  the 
first  four  are  doing,  and  finally 
they  all  come  back  and  report  that 
the  seal  society  kept  them,  pre- 
tending that  they  had  stolen  part 
of  the  food  which  they  were  sent 
to  bring  them.  The  people  inquire 
if  their  master  (g’Pg-i),  meaning 
the  ha/mats’a,  has  eaten  the  food 
which  was  sent  to  him.  When 
they  hear  that  he  has  eaten,  they 

The  crosspieces  on  top  of  the  ring  are  worn  at  the  _ , . , _ . „ „ , 

sides  of  the  head,  and  represent  the  heads  of  the  begin  to  eat  alSO.  After  tlie  first 

course  they  siug  four  more  songs, 
and  send  four  dishes  of  the  second 
They  are  not  allowed  to  begin  their 


Pig. 174. 

FIRST  HEAD  RING  OF  HAl'ALIK- AUAE. 


si'siuL. 

Cat.  No.  175488,  U.  S.  N.  M.  Collected  by  F.  Boas. 

course  to  the  ts?a/ts’aqaintsEn. 


1 Qe'lag-a  xond%  u qe'lag’a  (Goa/yuqulag-ilis)  i/astaliLax  qa  s yi'xoa  mEns’- 

Come,  child;  come  (Goa/yuqulag-ilis;,  come  to  fire  outside  for  to  dance,  swal- 
ita-us  sax  g-ins  nenEmo'kua. 
lowing  for  our  friends. 

2 Yix'a/k’asla  tsox  qaxg*anux  po'sq’ek*. 

Quick,  for  we  hungry  here. 


518 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


meal  until  they  have  learned  that  the  ha'mats’as  have  eaten.  For  the 
whole  dancing  season  this  rule  must  be  adhered  to. 

During  all  this  time  the  father-in-law  of  the  first  ye'wix-ila  has  been 
gathering  all  his  property,  principally  food,  blankets,  boxes,  dishes, 
spoons,  kettles,  bracelets,  coppers,  and  box  lids,  in  order  to  refund 
(qaute'x'a)  to  his  son-in-law  the  amount  promised  at  the  marriage  of 
his  daughter  (see  p.  421). 

When  he  assembles  his  clan  to  announce  his  plans,  the  members  of 
the  seal  society  must  not  come.  This  is  the  only  time  when  the  clans 
are  recognized  during  the  winter  season.  He  informs  the  people  what 
amount  of  property  he  is  going  to  give  to  his  son-in-law,  what  names  he 
is  going  to  have,  and  how  many  songs  he  has  had  made  for  him.  The 

son-in-law  assembles  his  clan 
in  the  dancing  house  (lobEku), 
and  lets  them  paint  their 
faces  with  charcoal.  Mean- 
while the  canoe  of  gu'sExstala 
is  built,  as  described  on  p. 
422.  All  the  speakers’  staffs 
which  are  carried  at  the  fes- 
tival are  ornamented  with  red 
cedar  bark.  The  dances  that 
are  sung  all  belong  to  the 
winter  dance,  only  ha/mats’a 
songs  are  not  used.  When 
the  daughter  of  the  father-in- 
law  dances,  she  is  also  dressed 
in  cedar  bark  ornaments. 
The  description  of  the  cere- 
monial will  be  found  at  the 
place  referred  to  above  (p. 
421). 

After  the  whole  amount  of 
property  has  been  turned 
over  to  the  son-in-law,  the 
father-in-law  calls  the  master 
of  ceremonies  and,  pointing  to  the  box  containing  the  winter  dance 
implements — masks,  whistles,  and  ornaments  of  red  cedar  bark — be 
says,  “Come,  I am  afraid  of  this  box  here;  you  are  the  only  one  who  is 
not  afraid  of  it,  because  you  went  through  the  whole  ceremonies  of  the 
winter  dances.1  To  this  the  master  of  ceremonies,  who  carries  a small 
cane,  replies,  “ Let  me  go  there.  Yes,  your  word  is  good,  friends. 


The  four  crosspieces  indicate  the  powers  of  the  shaman. 

Cat.  No.  175489,  U.  S.  N.  M.  Collected  by  F.  Boas. 


1 Qelag’a  LE'm’wala,  g-iLE'lEn  Las  g*ada  g’ildasek-  qaxs  nEmo'Xmaa'qos  na/la- 
Come  LE'm’wala,  I am  afraid  of  this  box  for  you  alone  you  not 

qak-  qa  xs  laxs4ex  la/xoa  L’a/qaquix-. 
afraid  of  it  for  you  went  through  it  in  the  red  cedar  bark  here. 


THE  KWAKIUTL  INDIANS. 


519 


It  is  good  that  you  say  I am  the  highest  among  you.” 1 With  this  he 
lifts  the  box,  hides  it  under  his  blanket,  and  begins  to  sing  his  secret 
song,  as  follows : 2 

O friend,  O friend,  O supernatural  friend. 

Then  he  calls  the  son-in-law,  saying,  u Stand  up;  it  may  be  that  this 
box  is  intended  for  you.” 3 The  young  man  rises  and  replies,  u Hold  it 
awhile  until  I dress  up.” 4 Then  he  goes  to  the  house,  and  after  a few 
minutes  returns  without  blanket,  having  his  face  blackened.  He  pre- 
sents himself  to  the  master  of  ceremonies:  u Here  I am,  friend;”5  who 
asks  him  once  more  to  be  ready:  “ Go  on,  get  ready,  son-in-law.”6 
Then  he  gives  him  the  winter  names  which  belong  to  the  contents  of  the 
boxes.  He  receives  both  the  me'emqoat  name  and  also  the  que'qutsa 
name.  He  asks  him  to  step  near. 7 The  young  man  turns  to  the  left 
and  walks  slowly  down  to  the  beach  where  the  master  of  ceremonies  is 
standing.  The  latter  takes  his  neck  ring  off  and,  holding  it,  sings  his 
secret  song : 

1.  My  mind  is  not  strong  enough  (to  lift  it). 

2.  My  mind  is  afraid  of  it. 

3.  I have  seen  the  winter  ceremonial.8 

Then  he  turns  around  and  gives  the  young  men  the  neck  ring  to 
which  the  arm  rings  and  leg  rings  are  tied.  He  turns  again  and  takes 
off  his  head  ring.  The  young  man’s  wife,  who  stands  next  to  the  master 
of  ceremonies,  gives  her  dancing  apron  to  the  latter,  who  turns  once 
and  puts  it  onto  her  husband.  Last  of  all,  he  gives  him  the  box. 
Then  the  master  of  ceremonies  says  “hop  op”  four  times.  (This  is 
the  sound  of  Hai'alik'auae).  The  master  of  ceremonies  continues : 9 

“ Wait  a while,  son-in-law,  you  have  no  name  for  your  k-i'nqalaLala, 

but  I have  seen  what  carried  away  our  son.  Her  name  is .” 

With  this  he  secretly  puts  a whistle  into  the  hand  of  the  son-in-law. 
The  latter  turns  to  the  right  and  calls  “h!  h!”  (deep  from  the  throat). 

*0  laL  laxdn  laq,  qa/Las  aix-mes  waLdEmus  nenEmo'k u,  wa/wiqumaa/xEu 

O let  me  go  there  it  is  true  good  your  word  friends  good  that  you  pretend 

to  place  me  highest 

bEgua/nEme'nae,  La/  lax*in  laq. 

a man  like  me.  1 will  go  there. 

2 Appendix,  page  718. 

3La/xoala  nEgu'mp,  qo  so'Lax  la/laa  laxs  g'ada  gd'lt’as. 

Stand  up  son-in-law  may  he  for  you  going  to  this  box. 

4DaLa  la  g-aq,  qan  le  q’oa/lax-’it. 

Hold  it  awhile,  forme  to  go  dress  up. 

5G*a/xmen,  qast. 

6 We'g’a  qoa'lsax  nEgu'mp. 

7 Qedag-a  nEgu'mp. 

8 See  page  509. 

yLa/xoaLa'lag'aama’s  nEgo'mp,  k^eo'tsoEm  kdn'qalaLElos  qa  xg’in 
Stand  there  a while  son-in-law,  you  have  no  (name)  for  your  kyinqalaLEla  for  I have 

la’mex-  do'x'oaLEla’x  axVide  xEns  xoncVkua.  (He'ilig-ixste'gdlis  LaLis  lax 
seen  what  carried  our  child  away.  (Eight  maker  of 

Baxbakualanuxsl7  wae. ) 

Baxbakualanuxsi' wae . ) 


520 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


Fig.  176. 

SECOND  HEAD  RING  OP  HAI'ALIK'AUAE. 

Worn  at  the  beginning  of  the  fourth  day  after  the 
return  of  the  novice.  The  crosspieces  indicate 
the  powers  of  the  shaman. 

Cat.  No.  175490,  U.  S.  N.  M.  Collected  by  F.  Boas. 


He  turns  around  to  the  left,  stooping  down,  and  walks  in  zigzag  way  up 

to  the  house.  When  he  approaches 
the  house,  he  cries  “hap!  hap!” 
and  all  the  people  of  his  clan  gather 
the  property  which  has  been  given 
him  and  follow  him.  As  soon  as 
he  cries  “hap  hap,”  his  son  (the 
g-i'yakila),  who  is  in  the  woods,  is 
heard  to  reply  with  the  same  sound. 
Now,  four  men  of  the  ye'wixdla’s 
family  go  down  to  the  square,  car- 
rying an  ax,  and  spJit  the  box  cover 
forming  one  corner  of  the  square. 
This  is  called  “sinking  the  canoe” 
(tso'kunsa),  and  means  that  the 
son-in-law  must  distribute  among 
the  tribe  everything  he  has  re- 
ceived from  his  father-in-law. 

When  the  people  reach  the  house,  the  son-in-law  gives  them  some 
food  and  gives  notice  that  in  four  days 
he  intends  to  try  to  bring  his  son  back 
from  the  woods.1 *  The  next  three  days 
are  spent  in  feasting  and  dancing.  In 
the  evening  of  the  third  day  the  young 
man  calls  all  the  people  to  go  into  the 
woods  in  order  to  make  eight  new  songs 
for  the  ha'mats^  and  two  for  the  k*i'n- 
qalaLala,  the  servant  of  the  ha'mats’a. 

The  singing  master  and  his  assistants  go 
into  the  woods  early  in  the  morning,  while 
the  maa'mx’enox  go  in  the  evening. 

The  old  chiefs  go  last,  and  sit  by  them- 
selves. They  give  orders  to  the  que'- 
qutsa,  telling  them  what  they  have  to 
do  during  the  festival  when  the  ha7- 
mats’a  is  expected  to  come  back. 

While  learning  the  songs  the  people 
sit  promiscuously,  not  arranged  ac- 
cording to  the  societies  to  which  they 
belong.  Those  who  have  good  voices  sit 
near  the  singing  master.  They  always 
select  a certain  clearing  in  the  thicket 
for  this  purpose  (Plate  43).  No  women 
are  allowed  th  ere.  The  ha/mats’ a and  the 
k-knqalaLala  who  are  in  the  woods  listen 


Fig.  177. 

THIRD  HEAD  RING  OP  HAI'ALIK'AUAE. 
The  crosspieces  indicate  the  powers  of  the 
shaman. 


. t.  No.  175491,  U.  S.  N.  M.  Collected  by  F.  Boas. 


lLa  niEDS  giTnx^itEL  k'ikTlnalaL. 

We  will  try  to  bring  him  hack. 


Report  of  U.  S.  National  Museum,  1895. — Boas. 


Plate  43. 


Place  where  the  Secret  Meetings  of  the  Winter  Ceremonial  are  held. 

From  a photograph. 


V'-  ■■ 


THE  KWAKIUTL  INDIANS. 


521 


unseen  to  the  songs,  as  they  must  dance  to  them  when  they  first  appear 
in  the  house.  The  people  sit  arranged  in  a square.  At  some  distance 
from  each  corner  a fool  dancer  is  placed,  to  watch  that  no  uninitiated 
person  comes  near.  If,  nevertheless,  one  of  these  should  see  what  is 
going  on  he  is  captured  by  the  fool  dancer,  taken  into  the  square,  and 
he  is  initiated. 

After  all  have  learned  the  new  songs,  they  scatter  and  go  home  singly 
in  order  not  to  attract  the  attention  of  the  other  people.  Each  family 
takes  supper  alone,  then  they  get  ready  for  the  dance.  When  it  gets 
dark,  the  ye'wixdla  sends  four  messengers  to  invite  the  people  to  the 
dance.  He  gives  each  of  these 
a button  blanket,  a head  ring 
and  a neck  ring  of  red  cedar 
bark,  and  eagle  down  to  strew 
on  their  heads.  They  walk  out 
of  the  house  to  one  end  of  the 
village  and  go  into  the  door  of 
the  last  house,  in  order  to  invite 
the  people.  Each  of  them  has 
a set  speech.  The  first  says, 

“Let  us  try  shamans!”  The 
second,  “We  shall  try  in  vain 
to  bring  back  what  makes  us 
remember  our  friends!”  The 
third,  “Bathe,  G-’epLalai! 

Bathe,  YaqoisaiM”  calling  the 
n ames  of  d ancers.  The  fourth, 

“Bise,  friends!”  also  naming 
the  dancers.1 

In  inviting  the  people,  they 
begin  with  the  women  and  men- 
tion the  name  of  everybody 
living  in  the  particular  house, 
continuing  with  the  names  of 
the  ha/mats?a  and  callin  g finally 
the  names  of.  the  que'qutsa.  After  the  messengers  have  gone  through 
the  whole  village,  they  return  to  the  house  of  the  ye'wix-ila  saying: 
“We  have  been  outside  to  the  end  of  the  village.”2 * * * * 

1 The  first  man  says : La  mEns  heinax’aleLai'  pepaxalai'. 

We  will  try  shamans. 

The  second  says:  La  mEns  wui/aleLai'  nenEmokoai'  k'iki'lnala  xEns 
We  will  try  for  nothing  friends  to  bring  hack  our 

q’alaLElaaf. 

what  makes  us  remember. 

The  third  says:  La  ams  xoset’eLai'  GryepLalai.  Laams  xoset’eLak  Yaqoisai7. 

Ready  you  bathe  (woman’s  name).  Ready  bathe  (Ha'mats’aname). 

The  fourth  says : Laams  Lax'oeLak  qastak  NaXdanaL. 

Ready  you  rise  friend  One  man  eater, 

^LamEnoX  la/pElsa. 


FIRST  HEAD  RING  OF  HAI'ALIK' AUAE. 


Ximkish. 

The  two  lateral  crosspieces  represent  the  heads  of  the 
sI'siuL,  and  the  front  crosspiece  the  death-  bringer. 
Cat.  No.  175511,  U.  S.  N.  M.  Collected  by  F.  Boas. 


522  REPORT  OF  NATIONAL  MUSEUM,  1895. 

Then  the  ye'wixula  asks  four  other  people  to  act  as  his  messengers. 
Again  he  gives  each  a button  blanket,  a head  ring  and  neck  ring  of  red 
cedar  bark,  and  eagle  down  for  the  head.  They  go  to  all  the  houses  and 
invite  the  people  to  come  at  once.  They  go  to  each  house  and  say, 
“Walk  back.”1 

As  soon  as  the  people  begin  to  enter  the  house,  the  ye'wixdla  beats 
time  on  a board,  in  quick  measures,  concluding  with  a sharp  rap  and 

the  call,  “hai,  hai.” 

The  Koskimo  are  the  first  to  enter.  Each 
man  carries  as  many  hemlock  wreaths  as 
he  has  killed  enemies  during  war  expedi- 
tions. They  also  carry  bows  and  arrows. 
Then  they  step  up  to  the  middle  of  the 
house  and  throw  one  wreath  after  the  other 
into  the  fire,  calling  the  name  of  the  enemy 
whom  it  represents.  As  soon  as  a wreath 
is  thrown  into  the  fire  they  call  “ye,”  and 
all  repeat  this  cry.  At  the  same  time  they 
shoot  arrows  into  the  fire.  This  ceremony 
is  called  yi'lxoa,  which  means  placing  the 
head  of  an  enemy  on  a pole.  The  fire  is 
called  XusE'la,  which  means  fighting  place. 
The  whole  ceremony  is  called  aPXts’aliL 
wa/lastEin  (carrying  blood  into  the  house 
and  giving  away  much  property)  or  k*7a/- 
g-’euLaxsta/la  (sharp  edge  of  knife).  At 
present  the  wreaths  represent  the  number 
of  coppers  which  a man  has  given  away. 
They  have  taken  the  place  of  heads,  be- 
cause, according  to  the  usages  of  the 
Kwakiutl,  a man  who  has  given  away  a 
copper  by  doing  so  becomes  a victor  over 
his  rival.  They  also  throw  paddles  into 
the  fire,  the  meaning  of  which  is  that 
they  send  a canoe  to  call  their  rivals  to  a 
festival,  in  which  they  are  going  to  show  their  greatness. 

After  the  Koskimo  have  entered,  the  maa'mx’enox  come  in.  Pieces 
of  board  representing  dorsal  fins  are  attached  to  their  backs.  They 
carry  wreaths  of  hemlock  branches  in  their  hands.  Their  arms  are 
stretched  back  and  they  make  the  motions  of  swimming,  blowing  from 
time  to  time  like  whales.  They  drop  their  wreaths  in  the  rear  of  the 
house,  go  out  again,  take  their  fins  oft*,  and  reenter.  Then  the  people 
beat  time,  and  the  maa'mx’enox,  holding  their  blankets  stretched  out 
backward,  enter.  They  take  up  their  wreaths,  and  call  the  name  of  the 
copper  or  other  property  that  they  are  going  to  give  away.  Then  they 


Pig.  179. 


SECOND  HEAD  RING  OP  HAI'ALIK' AUAE. 
Nimkish. 

The  crosspieces  represent  the  powers 
of  the  shaman. 

Cat.  No.  175512,  U.  S.  N.  M.  Collected  by  F.  Boas. 


Qatsestai'. 


THE  KWAKIUTL  INDIANS. 


523 


throw  the  wreaths  into  the  fire.  This  means  that  they  are  going  to  rival 
the  other  tribes  in  the  amount  of  property  that  they  will  give  away. 

The  wives  of  the  Koskimo,  the  qau'qotsaxsEin  ( % ),.are  the  next  to  enter. 
Each  of  them  carries  a number  of  sticks,  which  represent  the  amount 
of  property  which  they  are  going  to  give  to  their  husbands.  Each 
says  what  amount  of  property  these  sticks  represent.  They  are  fol- 
lowed by  the  qa/qao  and  k^e'k’exalaqa,  the  wives  of  the  maa'mx’enox. 
They  also  carry  sticks  and  state  how  much  property  they  are  going  to 
give  away. 

Last  of  all  the  mEse/q,  or  Sea-egg,  enters.  Sharp  sticks  about  3 feet 
long  are  fastened  to  his  clothing.  Two  men  accompany  him.  When 
he  comes  to  the  rear  of  the  house,  all  the  sticks  are  pulled  out  from  his 
clothing,  and  at  the  same  time  the 
names  of  all  the  coppers  which  were 
given  away  during  the  past  year 
are  called.  Everyone  who  has  given 
away  blankets  has  one  stick  con- 
tributed to  the  ornaments  of  this 
peculiar  dancer.  The  sticks  are  then 
thrown  into  the  fire,  while  all  sing 
out,  “ye!” 

The  maa'mx’enox  and  d’o'd’opa 
then  arrange  themselves  behind  the 
fire,  facing  the  rear  of  the  house. 

The  singing  master  stands  behind 
them,  facing  the  door  and  looking  at 
the  singers.  The  Koskimo  and  he7- 
melk  siton  each  side  of  the  house,  the 
women  in  the  rear  row.  (See  p.  436.) 

Finally  the  seal  society  enter  in 
the  same  manner  as  described  above 
p.  506). 

While  they  are  going  to  their  seats 
the  singers  slip  out  singly  through 
the  secret  door.  Then  suddenly  they  all  reenter  the  house  with  great 
noise,  and  the  people  say:  “The  great  maa'mx’enox  have  become 
excited.”1  They  go  around  the  fire  slowly,  holding  their  blankets 
spread  out.  Sometimes  they  are  led  by  one  of  the  me'emqoat.  Then 
they  pretend  to  pursue  the  latter.2  If  the  member  of  the  seal  society 
should  happen  to  be  a fool  dancer,  they  endeavor  to  hit  his  nose,  and 
as  soon  as  they  succeed  in  doing  so  he  gets  excited  and  stabs  the 
people.  During  all  this  time  the  singing  master  remains  in  his  place. 


Pig.  180. 

NECK  KING  OF  HA  I'  ALIK  AUAC. 
Ximkish. 

The  three  crosspieces  represent  the  central  and 
terminal  heads  of  the  si'siuL. 

Cat.  No.  175514,  U.  S.  N.  M.  Collected  by  F.  Boas. 


1 Kue'qoL  la  g-a  maa'mx’enuxtse’ ! 

Wild  these,  the  great  maa'mx’enox. 

2 They  act  according  to  their  names.  The  maa'mx’enOx  are  killer  whales,  while 
the  me'emqoat  are  seals,  who  are  the  prey  of  the  former. 


524 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


After  the  singers  have  rearranged  themselves  in  the  rear  of  the  fire, 
two  of  their  number  are  sent  to  the  door.  Each  has  a rattle.  They 
are  the  heralds  who  announce  the  dances  which  are  to  be  performed 
that  night  in  order  to  bring  about  the  return  of  the  novice.  When 
the  singers  and  the  members  of  the  seal  society  are  in  their  places,  the 
people  slip  out  singly  and  return  to  perform  their  dances.  On  this 
evening  they  do  not  show  the  highest  dances  which  they  possess,  but 
those  which  they  owned  when  they  were  children.  On  the  whole  the 
lower  grades  of  dances  come  in  first,  the  higher  ones  later  on,  but  there 
is  no  strict  order.  As  soon  as  one  of  them  approaches  the  house,  the 
heralds  shake  their  rattles,  and  upon  this  signal  the  singers  begin  to 
beat  the  boards  rapidly,  and  continue  to  do  so  during  the  dance,  at  the 
end  of  which  they  sing  one  song  of  the  dancer.  The  character  of  these 

dances  was  described  in  the  preceding 
chapter. 

When  about  one-half  of  all  the  dances 
have  been  shown,  and  particularly  after 
a dance  that  has  been  well  performed,  two 
messengers  (ho'Laq’is,  listeners)  are  sent 
out  by  the  speaker  of  the  master  of  cere- 
monies to  listen  if  no  sign  of  the  ha'matsVs 
return  can  be  heard.  They  go  out,  listen, 
and  come  back  saying  that  they  have  not 
heard  anything. 

While  the  people  are  waiting  for  the 
dancers  to  come  in,  railleries  are  going 
on.  The  speaker  of  the  ye'wixula  sends 
the  heralds:  “Go  to  our  friend  (the  bear 
dancer)  and  see  if  he  has  not  washed.”1 
The  herald  goes  out,  after  turning  in  the 
door.  When  he  comes  back,  and  the  next  dancer  is  to  be  a woman,  he 
may  say:  “She  will  not  come;  she  is  fighting  with  her  husband;”  or, 
“She  will  not  come;  she  and  her  husband  are  kissing  each  other.” 

The  dances  continue  until  early  in  the  morning,  when  the  ghost 
dancer  appears.  As  soon  as  the  people  sing  his  song,  all  the  old 
ha/mats’as,  who  have  not  entered  the  house  so  far,  get  excited,  their 
whistles  are  blown  by  the  he'lig-a,  and  they  enter  the  house  from  all 
sides — through  the  roof,  through  the  front  door,  and  through  the  secret 
doors  in  the  rear  of  the  house.  They  jump  down  on  the  floor,  squat, 
and,  looking  up,  cry  “hap  hap ! ” They  j ump  around  the  fire  four  times, 
looking  up  and  crying  “hap!”  all  the  time.  Their  cries  are  supposed 
to  be  heard  by  the  novice  in  the  woods,  who  is  heard  all  of  a sudden 
on  the  roof  of  the  house.  He  runs  around  four  times.  Three  times 
he  pushes  the  boards  of  the  roof  aside,  and  then  he  jumps  down.  The 


HEAD  RING  OF  HAI'ALIK'AUAE. 
L’a'sq’enox. 

Cat.  No.  175522,  U.  S.  N.  M.  Collected  by  F.  Boas 


1 Ha'g’a  laxEns  nEmo'kua  (na'ne).  E'sae  xo'sit. 
Go  to  our  friend  (bear).  Not  he  washed. 


THE  KWAKIUTL  INDIANS. 


525 


people  surround  him  and  try  to  hold  him.  He  runs  around  the  fire 
four  times,  but  all  of  a sudden  he  has  disappeared  again,  having  made 
his  exit  through  the  secret  door  in  the  rear  of  the 
house.  Only  the  hemlock  branches  with  which  he 
was  adorned  remain  in  the  house.  As  soon  as  the 
people  see  that  he  has  disappeared,  they  say  that 
somebody  has  made  a mistake  which  angered  the 
ha/mats’a  and  caused  him  to  leave  the  house  again. 

Not  always  is  the  ha/inats’a  induced  to  return  in 
the  manner  described  here.  Sometimes  the  xoa'exoe 
dances  and  the  earthquake  that  is  thus  produced 
brings  him  back,  or  the  dance  of  the  t’o'Xhiit  may 
bring  him  back. 

In  some  instances  a particular  officer,  the  Lele'iX 
alenox,  must  try  to  call  the  novice.  He  is  considered 
the  chief  of  all  the  que'qutsa.  He  wears  a rough 
head  ring  and  neck  ring  of  red  cedar  bark  which  is 
twisted  four  times.  His  face  is  blackened.  He  enters 
carrying  a baton  and  stops  in  front  of  the  fire.  If 
anyone  should  laugh,  he  points  at  him,  and  the  per- 
son who  is  thus  singled  out  must  look  downward. 

He  goes  around  the  fire  singing  his  secret  song,  as 
follows:1 

Ah,  ah,  ah,  supernatural 


Fig-1 

NECK  BING  OP  SHAMAN, 
MADE  OP  RED  CEDAR 
BARK. 

IV  A,  No.  1033,  Royal  Ethno- 
graphical Museum,  Berlin 
Collected  by  A.  Jacobsen. 


Ah,  ah,  supernatural  power! 
power!  IIoo! 

In  the  rear  of  the  house  he  turns  once,  cries  “hu!” 
and  stoops  down  to  listen.  Then  he  continues  his 
circuit  and  repeats  this  action  in  front  of  the  house. 

While  he  is  doing  so  the  ha/mats’a  appears  on 
the  roof,  in  the  rear  right  hand  corner  of  the  house, 
runs  around  the  roof,  and  opens  a hole  on  the  left  hand  front  corner 
and  looks  down  into  the  house.  From  here  he  rushes  to  the  rear  left 

corner  of  the  house.  Then  he  runs  to 
the  rear  right  corner,  and  to  the  front 
right  corner,  pushes  the  boards  aside, 
and  looks  down  into  the  house.  Then 
the  people  take  a number  of  blankets, 
spread  them  out  tight,  and  hold  them 
under  the  place  where  the  lia'mats’a  is 
looking  down.  Finally  he  jumps  down 
into  the  blankets  in  the  front  right  cor- 
ner of  the  house.  They  try  to  hold  him, 
and  slowly  go  around  the  fire  trying  to  lay  their  hands  upon  him,  but 
he  disappears  again.  Only  his  hemlock  branches  are  left  in  the  hands 
of  the  people. 


Fig.  183. 

HEAD  RING  OP  WA'TANEM. 

IV  A,  No.  6872,  Royal  Ethnographical  Museum,  Berlin. 
Collected  by  F.  Boas. 


Appendix,  page  724, 


526 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


Then  the  LEle'L’alendx  says  that  the  laughing  of  the  person  whom 
he  pointed  out  in  the  beginning  was  the  cause  of  the  disappearance 
of  the  ha'mats’a.  The  laugher  must  call  his  daughter  to  dance, 
and  he  must  take  a staff  (the  feast  pole  qa/sop’eq)  in  his  hands  and 
promise  to  give  a feast  after  her  dance. 

If  any  other  mistake  should  have  been 
made,  the  LEle'L’alenox  points  it  out  in  a 
similar  way.  When,  for  instance,  a woman 
has  brought  her  uninitiated  children  into 
the  house,  he  will  say  on  entering,  “I  smell 
someone  who  is  profane  ;771  and  the  people 
will  reply,  “Important  is  your  word.77* 
Then  he  asks  for  red  cedar  bark,  which 
is  given  to  him.  He  makes  a neck  ring 
and  a head  ring  (figs.  186,  187,  pp.  527, 
528).  He  asks  one  man  to  beat  time. 
Then  he  sings  his  secret  song,  and  sud- 
denly the  voices  of  birds  (whistles)  are 
heard  on  top  of  the  house.  He  holds  the 
red  cedar  bark  in  front  of  his  face,  push- 
ing it  forward  with  every  step  and  crying, 
“o,  o,  op,  op.77  Then  he  puts  the  cedar 
bark  on  the  child7s  head.  The  birds7  voices 
suddenly  disappear,  and  are  heard  on  the 
roof  of  the  house  of  the  child’s  father. 
Then  that  child  must  disappear,  it  being 
supposed  that  he  has  been  taken  away  by 
these  spirits. 

After  the  novice  has  disappeared  again, 
the  chief’s  speaker  asks  all  the  people  to 
make  themselves  ready  to  expect  the  nov- 
ice on  the  following  morning.  All  this 
time  his  whistles  are  heard  in  the  woods. 
Then  the  people  go  to  their  houses  and 
have  a short  rest,  but  after  about  an  hour 
or  two  the  ye'wix-ila  calls  them  to  his 
house  and  asks  them  to  try  to  catch  the 
new  ha/mats’a.  He  says:  “Take  care!  we  want  to  save  our  great 
friend.773  Then  the  master  of  ceremonies  requests  the  seal  society  to 
assemble,  and  the  que'qutsa  to  follow  them.  He  says,  “ Gather  seals ! 774 


rig.  184. 

HEAD  RING  OF  THE  CHIEF  OF  THE  KILLER 
WHALE  SOCIETY. 

IV  A,  No.  1824,  Royal  Ethnographical  Museum,  Ber- 
lin. Collected  by  A.  Jacobsen. 


1 Hmm;  baxusp’ala,  smell  of  the  profane. 

2AwI/laxaox  wa'LdEmaq’os,  Ho'LElete. 

Important  your  word,  Ho'LElete. 

3Laams  ya/i/oXuetdExdadxLoL  nenEmo'k  qanso7  wa/wultsEwax,’It  xEns 
You,  take  care  you,  friends,  we  want  to  save  our 

nEino'xtse. 
great  friend. 


4Lox8EmaLaa'mL  is  me'emqoat. 
In  bunch  you  seals. 


THE  KWAKIUTL  INDIANS. 


527 


The  k-i'nqalaLala  lead  the  way,  each  singing  her  secret  song.  All  the 
people  follow  them  toward  the  beach.  The  first  ku'nqalaLala  sings : 1 

Yiya  ham  yiyaha.  I am  the  real  tamer  of  BaxbakualanuXsfwae. 

Yiya  ham  yiyaha.  I pull  the  red  cedar  hark  from  BaxbakualanuXsfwae's  back. 

Then  the  second  one  sings : 1 

It  is  my  power  to  pacify  you,  when  you  are  in  a state  of  ecstasy.2 

They  go  westward,  and  as  soon  as  they  come  to  the  place  called 
Nau'alak’uas  (place  of  supernatural  power),  about  one-eightli  of  a mile 
west  of  the  village,  four  sons  or 
relatives  of  the  ye'wix-ila  are  sent 
out  to  gather  hemlock  branches. 

During  this  time  the  singers  sing 
the  new  songs  which  were  made 
on  the  preceding  day  in  the  woods, 
in  order  to  enable  the  other  people 
to  learn  these  songs.  Now,  the 
boys  return,  bringing  the  hemlock 
branches,  which  are  used  for  mak- 
ing head  and  neck  rings  for  the 
people.  All  the  que'qutsa  form  a 
row  and  take  each  others’  hands. 

They  sing  the  new  songs  and  go 
forward.  The  old  ha/mats’as  and 
the  other  members  of  the  seal  society  go  before  them.  Then  all  of  a 
sudden  the  new  ka'mats’a  appears,  and  is  surrounded  by  the  people, 
but  he  disappears  again.  It  is  not  the  novice  himself  who  appears  at 
tMs  time,  but  some  other  man  who  looks  like  him,  and  who  while  being 
surrounded  by  the  u seals”  takes  off  his  hemlock  dress  and  dresses  in 

red  cedar  bark  like  the  other  seals, 
so  that  apparently  the  ha/mats’a  has 
disappeared  again,  leaving  only  his 
hemlock  dress.  Suddenly  the  novice 
is  seen  again  in  front  of  the  village. 
Everybody  runs  to  take  him,  but  he 
disappears  again  in  the  same  man- 
ner as  before.  After  a short  time  he 
is  seen  again  at  Nau'alak’uas.  He 
is  surrounded,  but  disappears  a third 
time.  Then  all  the  people  form  a 
row,  take  each  others’  hands,  and  each  begins  to  sing  his  own  secret 
song.  Thus  they  approach  the  village,  where  the  ha/mats’a  is  seen 
again.  One  man  strips  off  his  clothing  and  goes  in  front  of  the  people. 
He  is  called  the  bait  of  the  tribe  (te'lEm).  As  soon  as  the  ha/mats’a 
sees  him  he  rushes  up  to  him,  seizes  his  arm,  and  bites  it.  Then  the 

1 Appendix,  page  724.  2 This  is  the  secret  song  of  all  the  he'lig-a. 


Fig.  186. 


HEAD  RING  OF  ONE  WHO  IS  ADMITTED  TO  THE 
WINTER  CEREMONIAL  FOR  THE  FIRST  TIME. 

Cat.  No.  175501,  U.  S.  N.  M.  Collected  by  F.  Boas. 


Fig.  185. 

HEAD  RING  OF  QUE'QUTSA. 
Koskimo. 

Cat.  No.  175526,  U.  S.  N.  M.  Collected  by  F.  Boas. 


528  REPORT  OF  NATIONAL  MUSEUM,  1895. 

people  catch  him  and  lead  him  toward  the  house,  singing  the  new 
songs.  (Plate  44.)  The  he'lig-a  sing  their  secret  songs,  and  the  unini- 
tiated cry  “hoi'p.”  By  this  means  they  attempt  to  tame  the  ha/mats’a. 
The  people  lead  him  to  the  house  of  the  ye'wixdla,  who,  on  their 
approach,  steps  out  of  the  house  with  his  whole  family,  dressed  in  red 
cedar  bark  ornaments  and  button  blankets.  Their  faces  are  marked 
with  black  spots.  Their  heads  are  covered  with  down.  They  dance  in 
front  of  the  house,  accompanying  the  new  songs.  Some  of  the  ye'wi 
x-ila’s  relatives  go  down  to  the  people,  who  lead  the  ha/mats’a,  and 
hold  boards  in  their  hands  for  the  people  to  beat  time  on.  Then  the 
latter  begin  to  sing  as  follows:  “Woe!  you  are  making  your  parents 
poor,  naualak  !”  1 Then  they  walk  into  the  house.  After  they  have  all 
entered,  the  new  k-i'nqalaLala  who  returned  with  the  ha/mats’a  from 

the  woods,  and  who,  during  the 
ceremony,  is  entirely  naked,  be- 
gins to  sing  her  new  song.  She 
enters  the  house  going  backward, 
facing  the  ha/mats’a,  whom  she 
desires  to  lead  into  the  house. 
The  ha/mats’a,  however,  is  appar- 
ently unwilling  to  enter,  and  stays 
for  about  half  an  hour  in  the  door, 
where  he  turns  four  times,  the  he'- 
lig-a  surrounding  him  all  the 
time.  During  this  time  the  peo- 
ple raise  the  ha'msp’eq  and  the 
ma/wiL.  As  soon  as  it  is  com- 
pleted, the  ha/mats’a  leaves  the 
door,  goes  to  the  right  until  he 
comes  to  the  rear  of  the  house, 
and  climbs  the  ha'msp’eq.  He 
ascends  the  roof  of  the  house, 
runs  around  once,  and  returns, 
descending  the  ha'msp’eq,  or  he 
jumps  down  from  the  door  of  the 
ma/wiL.  As  soon  as  he  jumps  down  he  rushes  to  one  m&n  and  bites 
his  arm.  He  goes  around  the  fire  once,  holding  him  in  this  way. 
Then  he  climbs  the  ha'insp’eq  again,  runs  around  the  roof,  and  after 
he  comes  down  again  bites  another  man.  This  is  repeated  four  times. 
The  people  during  this  time  sing  the  new  songs,  and  the  ha/mats’a 
dances  arouhd  the  fire,  but  not  properly,  as  he  is  supposed  to  be  still 
out  of  his  senses.  After  he  has  danced  around  the  fire  the  fourth 
time,  he  goes  into  the  ma/wiL.  Then  all  the  people  take  off  the  hemlock 
branches  and  throw  them  into  the  fire.  This  is  called  smoking  the 
wildness  of  BaxbakualanuXsi'wae  out  of  the  ha/mats’a.  Then  they 
arrange  themselves  according  to  the  societies  to  which  they  belong. 
The  ye'wixfila  who  stands  at  the  left-hand  side  of  the  door  says:  “I 


NECK  KING  OF  ONE  WHO  IS  ADMITTED  TO  THE  WINTER 
CEREMONIAL  FOR  THE  FIRST  TIME. 

Cat.  Jfo.  175502,  U.  S.  N.  M.  Collected  by  F.  Boas. 


lWo  sis  wun  g*iL  moweLos  nau'alakue  woe  woe! 
Woe  you  make  poor  men  you  naualak  woe  woe. 


Report  of  U.  S.  National  Museum,  1895. — Boas. 


Plate  44. 


The  return  of  the  Ha'mats’a. 

From  a photograph. 


¥ 


THE  KWAKIUTL  INDIANS. 


529 


am  (He'iLtsaqolis) ! Come  friends  and  give  away  the  bracelets  and 
coppers.”1  The  name  by  which  he  calls  himself  here  is  the  one  which 
he  assumes  at  this  festival.  Then  the  members  of  the  society  to 
which  he  belongs  take  the  brass  bracelets  and  the  coppers  out  of  the 
box  and  give  them  to  him.  He  says:  “I  obtained  this  property  from 
my  father-in-law,  and  I am  going  to  distribute  it  now  according  to  the 
laws  of  the  winter  dance.”2 

The  ye'wixdla  turns  everything  over  to  the  master  of  ceremonies  or 
to  one  of  his  own  relatives,  who  in  their  turn  distribute  the  property 
among  the  assembly,  giving  the  women  first,  then  the  “seals,”  and 
lastly  the  que'qutsa,  each  person  receiving  one  stick  of  bracelets  and 
one  stick  of  coppers.  After  the  property  has  been  distributed,  the 
people  go  home  and  take  their  breakfast  in  their  own  houses. 

In  the  evening  the  ye'wix-ila  again  requests  four  messengers  to  invite 
the  people.  He  tells  them  the  names  of  the  new  ha/mats’a  and  kd'n- 
qalaLala,  and  tells  them  to  call  the  people  to  come  to  his  house,  in  order 
to  tame  the  new  ha/mats’a  and  kd'nqalaLala.  Each  of  these  messen- 
gers receives  ope  bptton  blanket.  They  go  to  the  various  houses  and 
say : 3 

“Shamans!  We  will  pacify  this  supernatural  one.  We  will  soften 
(TsE'mqok-aLa)4  by  means  of  our  songs.  Friends ! We  will  pacify  this 
supernatural  one.  We  will  restore  to  her  senses  (He'ligdxsteg-ilisa).5 
Let  us  go  into  the  dancing  house  before  dark!” 

After  they  return  to  the  dancing  house,  the  ye'wix-ila  calls  four 
more  messengers,  who  also  receive  a button  blanket  each  in  payment 
for  their  services.  They  must  go  to  the  end  of  the  village,  and  begin- 
ning at  the  last  house  they  must  say:  “We  come  back  to  call  you. 
The  fire  is  going  out.  We  have  no  fuel.  Come  quick,  shamans!”6 * * * *  The 
people  follow  them  at  once,  and  all  enter  the  dancing  house. 

1No/guam  He'iLtsaqolis.  Qe'laxdaox  lag'a  nenEmS'k11  qas  ax’e'itdax’os  sa/xa 

I am  “ come,  friends,  for  you  to  give  the 

k^o'kule  LEwa  La/qoxsEm  qas  ia/x’uitaosas. 
bracelets  and  coppers  that  you  give  them  away. 

2La’mEnuX  ia/x’uiL  nenEmokue'  g-ano’x  g-ayanEmX  la/xEno’X 

We  will  give  away s friends  this  what  we  got  from  there  we 

our  wife 

qig-a/taas. 

from  whom  wife  was  obtained. 

3La’mEns  yoLaLak  pepaxalak  laxoa  Lokoalaxak.  La’mEns  tamalqoaLak 

We  will  tame  paxalas  this  supernatural  one.  We  will  make  soft  inside  by 

means  of  songs, 

lax  TsE'mqok'aLak.  La’mEDS  helek-anak  nenEmokoak  la/xoa  Lokoalaxak. 
on  “sound  of  sAvallowing.”  We  will  tame  friends  at  this  supernatural  one. 

La’mEns  na/naqa’maLak  pepaxalak  lax  He'lig'lxsteg’ilisak.  NanEmts’aEmLEnsak. 
We  will  restore  to  his  paxalas  on  Tamer  of  (Ha'mats’a’s)  We  will  all  go  in  before 

senses  mouth.  dark. 

4Name  of  the  ka/mats’a  novice. 

“Name  of  the  k*l'nqalaLala  novice. 

6Qatsesdaak  la’am  k-’ilx’etde  da  lEqokn;  k^ikosnuX  lEquiLaak;  wit  ha/’lag'ileL 

We  walk  hack  going  out  the  fire;  not  we  firewood;  wa  hurry 

Lax  pepaxalak. 

paxalas. 

NAT  MUS  95 34 


530 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


During  the  whole  day  the  whistles  of  the  ha/mats’a  were  heard  in  the 
house.  Then  the  speaker  of  the  ye'wix-ila  says  as  follows  : “ Friends, 
do  as  I desire!  Try  to  pacify  our  friend ! Let  all  the  women  dance!”1 
This  is  a request  to  the  women  to  dance  with  the  ha/mats’a  in  order  to 
tame  him.  The  master  of  ceremonies  calls  upon  all  the  ha'mshamtsEs, 
the  hai'alik-ilaL,  the  t’o'X’uit,  and  the  k-i'nqalaLala  to  dance  with  the 
ha/inats’a.  They  blacken  their  faces,  put  eagle  down  on  their  heads, 
and  begin  to  dance.  Then  the  ha/mats’a  shakes  the  lia'msp’eq  and 
comes  out  of  the  ma/wiL.  At  once  the  people  begin  to  beat  the  boards, 
but  do  not  sing.  The  ha/mats’a  goes  around  the  fire  once  and  disap- 
pears again  in  the  ma/wiL.  The  master  of  ceremonies  says:  “ Some- 
body must  have  made  a mistake,”  and  calls  up  the  paxa'lalaL — that 
means  the  shaman  dancer.  He  steps  forward,  calls  for  a round  rattle, 
and  as  soon  as  the  master  of  ceremonies  has  given  it  to  him  he  begins 
to  sing  the  song  of  the  paxa'lalaL.2  “You  took  me  around  the  world, 
BaxbakualanuXsI'wae.”  He  goes  around  the  fire  and  then  enters  the 
ma/wiL  at  the  same  place  where  the  ha'mats’a  went  in.  He  stays 
there  for  about  ten  minutes  and  then  reappears,  saying  that  the  people 
have  made  too  much  noise,  and  that  they  did  not  have  enough  down  on 
their  heads,  and  that  the  ha/mats’a  had  disappeared  again  for  these 
reasons.  The  master  of  ceremonies  calls  for  four  dishes  of  eagle  down. 
Then  four  men  come  out  of  the  right  hand  front  corner  of  the  house 
carrying  the  dishes  and  saying  that  they  were  waiting  for  the  orders 
of  the  master  of  ceremonies.  He  sends  the  four  men  to  feather  the 
heads  of  the  people,  beginning  with  the  ha'mats’a,  continuing  with  the 
other  “seals,”  and  finishing  with  the  que'qutsa.  Then  the  master  of 
ceremonies  says  that  the  eagle  down  brought  into  the  house  super- 
natural power  (which  is  not  supposed  to  be  present  where  there  is  no 
down). 

Now  the  ha/mats’a  is  seen  to  leave  the  ma/wiL  again.  He  jumps 
down,  goes  around  the  fire  once,  and  disappears  again.  Again  the 
paxa'lalaL  is  sent  to  discover  if.  a mistake  has  been  made  which 
induced  the  ha/mats’a  to  leave  again.  He  sings  the  same  song  as 
before,  enters  the  ma/wiL,  where  he  stays  for  some  time.  He  reappears 
and  says  that  the  ha/mats’a  was  displeased  because  the  he'iig-a  did 
not  sing  their  secret  song.  Then  four  he'lig-a  are  sent  into  the  ma/wiL. 
The  ye'wixdla  gives  four  button  blankets  to  the  master  of  ceremonies 
and  requests  him  to  do  with  them  whatever  he  pleases.  The  master 
of  ceremonies  gives  them  to  the  he'lig-a,  who  then  begin  to  sing:  “ Wa 

xIa  aade'  la’ams  waxe/idEXdaoxL  g-a/xEn  qas  gu/nx*?itda6s  la/lona  xEns 

la,  friends,  you  give  my  desire  me  for  you  try  get  Mm  our 

nEmo'Xdaoxue'x.  Na/xulendadxEmLEs  ts’e'daqa/  yixoa/xdadxLEx. 
friend  our.  All  you  women  dance. 

2Yam  ha  mam  ha  mai  ye,  hamaraaai  liama. 

LaXdEno'k"  laistai'sElahayiias,  BaxbakualamiXsi'wae. 

You  took  me  around  the  world,  BaxbakualanuXsi'wae. 

They  all  have  one  song  in  common. 


THE  KWAKIUTL  INDIANS.  531 

ha  wa  ha  wa  ha  wa  ha  wa  ha  hai  ya  ye  he  ya  ye  ya  ya  wa  ha  wa  ha  hai 
ya  ye  he  ya  ye  ha  ye  ha,  hoip.” 

Now  they  enter  the  mawiL,  and  after  a short  time  bring  out  the 
ha/mats’a,  who  bites  the  arm  of  one  of  them.  As  soon  as  they  approach 
the  door  of  the  house,  the  ha/mats’a  lets  go  his  hold,  turns  around, 
and  bites  a second  one  in  the  same  way.  They  continue  their  way,  and, 
when  they  reach  the  ma/wiL,  the  ha/mats’a  disappears  once  more.  The 
he'lig'a  follow  him,  and  soon  he  reappears,  biting  the  third  one.  As 
soon  as  they  come  to  the  door,  he  lets  go  his  hold  and  bites  the  fourth 
one.  When  they  reach  the  rear  of  the  house  again,  the  heTig-a  do  not 
allow  him  to  reenter  the  ma/wiL.  The  people  beat  time  rapidly.  Dur- 
ing these  ceremonies  the  ha'mats’a  is  entirely  naked,  with  the  exception 
of  a wreath  of  hemlock  branches  which  he  wears  around  his  neck,  one 
around  his  head,  one  around  the  waist,  and  bracelets  and  anklets  of  the 
same  material. 

Now  the  people  begin  to  sing  the  new  songs  which  were  made  for 
the  ha/mats’a.  After  the  first  song  has  been  sung,  he  disappears  in 
the  ma/wiL,  and  immediately  the  mask  of  QoaqoaXualanuXsbwae,  the 
raven,  appears.  After  the  mask  has  disappeared,  the  ha/mats?a  appears 
again,  entirely  naked.  When  he  has  finished  his  dance,  the  mask  of 
BaxbakualanuXsi'wae  comes  out  (see  p.  446).  The  mask  disappears  in 
the  ma/wiL,  and  the  ha'mats’a  comes  out  again  dancing  slowly.  He 
wears  a crown  of  red  cedar  bark  on  his  head,  a wide  neck  ring  of  the 
same  material,  anklets,  bracelets,  a dancing  apron,  and  a bear  skin. 
Then  the  people  continue  to  sing  the  new  songs  which  were  made  for 
him.  The  master  of  ceremonies  spreads  a new  mat  in  the  middle  of  the 
rear  of  the  house  in  front  of  the  singers.  After  his  dance  the  ha/mats’a 
sits  down  on  this  mat,  facing  the  rear  of  the  house.  Then  the  k-i'nqala- 
Lala  comes  out  of  the  ma/wiL  singing  her  new  secret  song.  After  she 
has  finished,  the  people  sing  the  new  songs  which  were  made  for  her  in 
the  woods.  She  dances  until  the  two  songs  are  finished.  Then  the 
master  of  ceremonies  calls  up  a man  named  Ts’e'qame  (que'qutsa  name) ; 
u Come,  friend,  try  if  you  can  reach  our  friend.” 1 This  is  the  request  to 
him  to  tame  the  ha/mats’a.  TsWqame  asks  for  four  pieces  of  white 
soft  cedar  bark,  which  are  given  to  him  by  the  yeVixdla.2  TsWqame 
takes  them,  crying  u hoip,  hoip.”  That  means  that  he  is  putting  the 
secret  of  the  winter  dance  into  the  bark.  He  asks  for  a pole  (about  6 
feet  long),  which  is  given  to  him  by  the  ye/wix-ila,  or  by  the  brother  of 
the  latter,  who  is  looking  after  the  fire.  Ts’e'qame  ties  the  four  pieces 
of  cedar  bark  to  the  end  of  the  pole.  Each  piece  is  about  8 feet  long. 
He  tells  the  people  to  be  ready  to  beat  time  when  the  signal  is  given. 
He  asks  one  of  the  ku'nqalaLala  to  take  off  the  clothing  of  the  ha/mats’a. 

lQelag*a  ade';  qas  gu/nx,’itaos  do'qoan,  qas  goayoLasos  ax  gdns  nEmo'xtsek*. 

Come,  friend,  for  to  try  see  that  you  reach  our  friend. 

2 He  says:  AxVta  g*ax  k'a/tsekoaqaE'n;  moxsaE'mLe. 

Give  white  cedar  bark  me  four  pieces  only. 


532 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


The  k-i'nqalaLala  goes  around  the  fire  saying  “hoip,  hoip,  hoip,  hoip,” 
and  then  takes  the  h i 'mats’ a’s  clothing  and  cedar  bark  ornaments  off. 
Then  TsVqame  gives  the  signal  to  the  people  to  begin  beating  time,  and 
as  soon  as  they  begin  he  puts  one  end  of  the  cedar  bark  into  the  fire.  He 
runs  around  the  fire  until  he  comes  to  the  place  where  the  ha/mats’a  is 
sitting.  Here  he  swings  the  burning  bark  over  the  ha/matsa’s  head,  and 
at  the  same  time  the  latter  turns  around  squatting  and  crying  “hap, 
hap,  hfip.”  Ts’e'qame  goes  around  the  fire  once  more,  and  keeping 
his  eye  on  the  lia/inats’a  until  he  reaches  him  the  second  time  he  swings 
again  the  burning  cedar  bark  over  his  head.  This  is  done  four  times. 
This  is  called  nawa'qama.  Then  the  heTig-a  lift  the  ha/mats’a,  lug  him 
around  the  fire,  and  take  him  into  the  ma/wiL.  The  master  of  cere- 
monies now  calls  the  ye'wix-ila  and  asks  him  to  pay  TsVqame  for  his 
work.  The  ye'wix-ila  goes  into  his  bedroom  and  brings  out  a button 
blanket,  which  he  gives  to  him.  Then  the  ye/wixula  asks  the  master 
of  ceremonies  or  one  of  his  relatives  to  distribute  the  rest  of  the  brass 
bracelets,  coppers,  and  button  blankets  among  the  people.  Each 
person  receives  one  stick  of  bracelets,  one  stick  of  coppers,  and  one 
button  blanket. 

Now  all  the  profane  must  leave  the  house.  The  door  is  closed  and 
the  purification  of  the  ha/mats’a  begins.  Four  men  must  take  part 
in  this  ceremony, — the  kue'ts’enox  or  the  washer,  the  qa’nenox  or 
the  rubber,  the  ts’e'silaenox  or  the  tongsmaker,  and  the  tVmtse- 
nox  or  the  time  beater.  Whatever  these  men  ask  for  incidentally 
to  the  ceremony  must  be  given  to  them,  and  they  retain  it  as  their 
personal  property.  When  everything  is  quiet,  the  ts’e'silaenox  asks 
for  a piece  of  cedar  board  about  6 feet  long,  for  a wedge,  and  for  a 
stone  hammer.  After  this  is  brought  to  him,  the  tVmtsenox  sits 
down  in  his  place  ready  to  beat  time.  Then  the  tsVsilaenox  asks  for 
a belt.  After  he  has  received  it,  he  puts  it  on,  goes  around  the  fire 
four  times,  carrying  a rattle  in  his  hand,  while  the  tVmts’enox  is  beat- 
ing time.  He  does  not  sing,  but  says  “hoip,  hoip.”  After  he  has  gone 
around  the  fire  four  times,  he  stops,  puts  his  rattle  down,  and  stoops 
three  times,  as  though  he  was  going  to  take  up  the  hammer  and  wedge, 
but  he  does  not  really  take  it  until  he  stoops  down  the  fourth  time. 
Every  time  he  stoops  the  tVmtsenox  gives  a short  rap  on  the  board. 
Then  the  tsVsilaenox  goes  around  the  fire  until  he  comes  to  the  place 
where  the  board  is  lying  on  the  ground.  He  steps  up  to  it,  turns  once 
to  the  left,  puts  his  wedge  against  the  board,  and  pretends  to  drive  it 
in  with  his  stone  hammer,  but  he  takes  it  off  again,  turns  once  more  to 
the  left,  and  places  it  a second  and  third  time  against  the  board. 
The  fourth  time  he  really,  with  one  hard  blow,  drives  the  wedge  into  the 
board  and  splits  it.  Then  he  asks  the  ye'wixdla  for  a knife,  and  after 
it  is  given  to  him  he  makes  a pair  of  tongs  out  of  the  cedar  board. 
Then  he  asks  for  a clean  mat  and  for  a piece  of  soft  white  cedar  bark. 
He  takes  it  up  with  his  tongs,  goes  around  the  fire,  and  gives  it  to  the 


THE  KWAKIUTL  INDIANS.  533 

qa’nenox.  Every  time  these  men  go  around  the  fire  the  tVmtsenox 
must  beat  the  boards. 

Then  the  qa’nenox  takes  the  mat  and  spreads  it  on  the  floor  at  the 
left-hand  side  of  the  door,  and  lays  the  cedar  bark  on  it.  He  begins  to 
rub  the  bark  and  to  cut  it.  When  cutting,  he  draws  his  knife  three 
times,  pretending  to  cut,  and  every  time  he  does  so  he  turns  to  the 
left.  The  fourth  time  he  really  begins  to  cut  the  bark.  One  of  the 
pieces  which  he  cuts  is  about  6 feet,  and  two  other  pieces  about  2 feet 
long  each.  A knot  is  tied  in  the  middle  of  the  long  piece,  which  is  then 
tied  in  shape  of  a ring,  the  ends  crossing  each  other  and  leaving  about 
1 foot  free.  The  two  shorter  pieces  are  tied  near  the  middle  of  the  long 
piece,  so  that  the  whole  forms  a ring  with  two  ends  on  one  side  and  two 
ends  near  the  middle.  The  ring  represents  the  body,  the  knot  the  head, 
the  upper  ends  the  arms,  and  the  lower  ends  the  feet  of  a person. 

How  he  rises  and  gives  a signal  to  the  tVmtsenox  to  beat  time.  He 
goes  around  the  fire  once  and  stops  near  the  tongs  which  the  ts’e'si- 
laenox  made.  Then  he  puts  the  ring  down.  How  the  tsVsilaenox 
rises.  He  spreads  the  tongs  with  a small  stick.  Three  times  he  pre- 
tends to  take  them  up,  turning  each  time.  The  fourth  time  he  really 
takes  them  and  goes  toward  the  ring  of  white  cedar  bark,  the  qa’na/yu. 
At  this  time  the  tVmtsenox  begins  to  beat  time  again.  The  tsVsila- 
enox  goes  around  the  fire  with  the  tongs  in  his  hands  and  keeps  his 
eye  on  the  qa’na/yu  all  the  time.  When  he  comes  to  the  mat  on  which 
it  is  lying,  he  pretends  to  take  it  up  with  the  tongs,  but  he  does  not 
touch  it.  Then  he  turns  around  to  the  left  and  extends  his  arms 
toward  the  place  of  the  rising  sun.  Every  time  he  does  so  the  tVm- 
tsenox gives  a hard  rap  on  the  board,  and  the  people  cry  “ wa ! v This  is 
repeated  three  times $ the  fourth  time  he  takes  the  qa?na/yu,  and  goes 
around  the  fire  four  times  until  he  arrives  at  the  east  side  of  the  house. 

Then  he  pushes  up  the  tongs  three  times.  The  fourth  time  he  turns 
them  around  and  places  the  handle  under  the  roof  of  the  east  side  of  the 
house.  He  goes  around  the  fire  four  times.  Then  he  pretends  to  take 
up  four  stones  with  his  tongs.  He  does  not  really  take  them  until  the 
fourth  time.  During  this  time  the  tVmtsenox  beats  again.  Then  the 
kuets’enox  asks  for  a new  dish,  which  is  put  on  the  floor.  He  asks  for 
water,  which  is  brought  to  him  in  a bucket.  When  he  takes  the  latter, 
he  gives  a signal  to  the  tVmtsenox  to  beat.  He  walks  around  the 
fire  with  the  water,  while  all  the  people  say  “wa  wa  wa.”  Every 
time  he  comes  to  the  point  where  he  started,  either  opposite  the  door 
or  in  the  rear  of  the  house,  he  turns  and  lifts  his  bucket  toward  the  sun. 
Every  time  he  does  so  the  tVmtsenox  stops  with  a loud  rap.  After 
he  has  done  so  four  times,  he  goes  to  the  dish,  which  is  standing  at  the 
left-hand  side  from  the  door.  Three  times  he  pretends  to  pour  out 
water,  and  the  fourth  time  he  enrpties  it  into  the  dish.  After  this  has 
been  done,  the  new  ha/mats’a  is  called  to  come  out  from  the  rna/wiL. 
He  and  the  k-i'nqalaLala  come  out  entirely  naked.  A new  mat  is  put 


534 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


down  for  them  next  to  the  dish.  The  qa’nenox  holds  the  mat  in  his 
hands,  turns,  and  pretends  to  put  it  down.  After  he  has  done  so  three 
times,  he  really  puts  it  down.  Every  time  he  turns  he  says,  u hoi'p.” 
The  fourth  time,  after  putting  down  the  mat,  the  ku'nqalaLala  sings 
the  he'lig’a  song.1  The  kd'nqalaLala  goes  four  times  around  the  fire 
singing.  The  ha/mats’a  must  follow  her,  and  every  time  the  k-i/nqala- 
Lala  turns  he  must  turn  too.  They  turn  whenever  they  reach  the  point 
opposite  the  door  and  in  the  rear  of  the  house.  After  they  have  made 
four  circuits,  they  sit  down,  the  ha'mats’a  looking  wild  all  the  time,  as 
though  he  wanted  to  bite  the  people.  The  qa’nenox  rises  and  goes 
around  the  fire  after  signaling  the  tVmtsenox  to  beat  time.  He  takes 
a small  stick,  and  places  it  in  the  wall  of  the  house  a little  below  the 
tongs  on  which  the  qa’nayu  is  hanging,  but  before  really  placing  it 
there  he  pretends  to  make  the  motion  three  times,  turning  after  each 
motion.  Then  he  attempts  to  take  the  qa’nayu  from  the  tongs,  but  he 
really  does  not  take  it  down  until  after  he  has  made  the  motion  three 
times.  As  soon  as  he  really  takes  it,  the  tVmtsenox  gives  a loud  rap, 
and  says  “ya.”  Then  the  qa’nenox  turns  once  and  puts  the  qa’nayu 
on  the  short  stick.  Again  he  goes  around  the  fire  while  the  tVmtse- 
nox is  beating  time.  He  goes  to  the  tongs,  turns  around  once,  and 
takes  them  down. 

He  goes  around  the  fire  holding  the  tongs  downward.  During  this 
time  the  tVmtsenox  beats  time.  The  qa’nendx  stops  at  the  door  and 
holds  the  tongs  toward  the  door.  Then  the  kue'ts’enox  rises,  and  with 
a common  baton  he  strikes  the  small  stick  which  spreads  the  tongs, 
thus  throwing  it  out  of  the  door.  If  the  stick  should  happen  to  strike 
the  walls  of  the  house  and  not  hit  the  door,  it  forebodes  short  life  for 
the  ha/mats’a.  Then  the  ts’e'silaenox  turns  and  goes  around  the  fire. 
Three  times  he  pretends  to  take  the  stones  out  of  the  fire,  every  time 
extending  the  tongs  towards  the  sun.  The  fourth  time  he  really  takes 
the  stones  up.  Then  the  people  cry  awa  wa.”  He  turns,  goes  around 
the  fire  four  times,  and  stops  near  the  dish  containing  the  water.  Three 
times  he  pretends  to  throw  the  stones  into  the  water,  and  every  time 
he  does  so  the  tVmtsenox  beats  time.  The  fourth  time  he  throws  them 
into  the  water. 

This  ceremony  is  performed  with  each  stone  singly.  Then  he  goes 
again  around  the  fire  and  puts  the  tongs  back  under  the  roof  in  the 
same  place  where  they  were  before. 

How  the  kue'ts’enox  rises.  He  goes  around  the  fire  stretching  his 
right  hand  backward  and  shaking  it.  This  is  the  signal  for  the  tVm- 
tsenox to  beat  the  board  as  hard  as  possible.  Every  time  he  reaches 
the  east  and  the  west  side  of  the  fire  he  turns  around  and  the  beater 
gives  one  short  rap.  Every  time  he  comes  to  the  turning  point  he 
extends  his  hands  toward  the  qa’na'yu  as  though  he  was  going  to 
take  it  down.  His  hands  are  shaking  all  the  time  like  those  of  Bax- 


1 It  is  my  power  to  pacify  you  (see  page  527). 


THE  KWAKIUTL  INDIANS. 


535 


bakualanuXsi'wae.  The  fourth  time  he  really  takes  the  qa’na/yu  down. 
Its  “head”  is  in  his  left  hand,  its  lower  end  in  his  right  hand.  He 
holds  his  left  hand  stretched  forward.  He  goes  around  the  fire,  and  at 
the  turning  point  extends  the  ring  toward  the  sun.  Every  time  he 
does  so  the  tVmtsenox  gives  a short  heat. 

He  walks  around  the  fire  four  times,  and  finally  stops  near  the 
ha/mats’a.  Then  the  qa’nenox  calls  the  kuets’enox  to  come  to  the 
ha/mats’a.  The  kuets’enox  goes  aroung  the  fire  four  times,  stops  at 
the  dish  holding  the  water,  and  stoops  down  three  times,  intending  to 
dip  water  out  with  his  hands.  He  does  not  really  take  it  until  the 
fourth  time.  He  holds  the  water  in  his  two  hands,  goes  around  the 
fire,  lifts  it  toward  the  sun,  turns  around,  and  puts  it  on  the  head  of 
the  ha/mats’a,  softly  stroking  the  latter.  Then  he  takes  more  water, 
puts  it  again  on  the  ka/mats’a’s  head  in  the  same  manner.  This  cere- 
mony is  also  repeated  four  times.  The  kn/nqalaLala  sits  next  to  the 
ha/mats’a.  The  kue'ts’enox  turns  around  and  puts  four  handfuls  of 
water  on  her  head  in  the  same  way  as  he  put  it  on  that  of  the 
ha/mats’a.  Then  the  qa’nenox  rises  again  and  the  tVmtsenox  beats 
time.  He  goes  around  the  fire  carrying  the  ring,  and  on  the  west  side 
he  extends  it  toward  the  sun.  Then  he  walks  around  to  the  lia/mats’a, 
turns  slowly,  and  puts  the  ring  over  the  lia/mats’a’s  head,  doubling  it 
up  and  wiping  his  whole  body.  The  ha/mats’a  first  extends  his  right 
arm,  then  his  left  arm,  through  the  ring.  When  the  ring  comes  down 
to  his  feet,  he  raises  his  right  leg  first,  puts  it  down  outside  the  ring, 
turns  all  around  on  his  right  foot,  then  takes  up  his  left  foot,  and  sits 
down  on  the  mat,  facing  east.  The  qa’nenox  takes  the  ring  up,  turns 
around,  and  drops  his  left  hand  and  raises  his  right  hand  alternately. 

Again  the  ha/mats’a  extends  his  right  arm,  and  he  rubs  him  in  the 
same  way  as  the  first  time.  This  is  repeated  four  times.  Then  the 
qa’nenox  goes  around  the  fire  and  performs  the  same  ceremony  with 
the  k-i'nqalaLala.  Then  the  people  sing:  “In  olden  times  you  went 
all  around  the  world  with  the  supernatural  being.”1 

The  qa’nenox  takes  the  tongs  down  from  the  roof  and  takes  up  the 
qa’na/yu,  while  the  tVmtsenox  is  beating  time.  He  goes  around  the 
fire  Swinging  the  ring,  turns  in  the  front  and  in  the  rear  of  the  house, 
raising  the  ring  toward  the  sun.  After  he  has  gone  around  the  fire 
four  times,  he  swings  the  ring  over  the  fire  until  it  ignites.  Then  all 
the  people  say  “ wa  wa.”  He  walks  out  of  the  house,  and  burns  the 
ring  on  the  street.  Then  he  burns  the  tongs  in  the  house.  Then  all 
the  people  are  allowed  to  enter  the  house. 

After  the  song  has  been  sung,  the  ha/mats’a  gets  excited,  leaves  the 
house,  and  runs  around  the  village. 

The  ye'wixdla  now  brings  all  his  dishes  and  kettles,  spoons  and  mats, 
and  distributes  them  among  the  people  of  his  tribe,  the  people  going  to 
the  pile  and  each  taking  one  piece.  This  celebration  lasts  until  it  is 
nearly  daylight. 


Appendix,  page  724. 


536 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


About  this  time  tlie  four  officers,  the  kue'ts’enox,  the  qa’nenox,  the 
ts’e'silaenox,  and  the  t’a'mtsenox,  leave  the  house,  the  last  uamed  car- 
rying the  baton.  Then  they  say : 1 u Here  is  food  for  you  que'qutsa.” 

This  is  the  notice  for  the  last  great  feast  in  the  winter  dance  cere- 
monies. At  this  time  they  count  up  all  the  mistakes  made  by  the 
ha/mats’a.1 2 3 

For  four  days  after  this  the  ha/mats’a  runs  about  biting  the  people. 
On  the  fourth  night  the  ye'wixdla  calls  his  society  and  tells  them  that 
the  ha'msp’eq  is  to  be  burnt.  A messenger  belonging  to  his  society  is 
sent  out  to  call  all  the  people  together.  He  is  given  a button  blanket 
and  a new  head  ring  and  neck  ring.  This  messenger  goes  to  every 

house  and  says  : 3 u Friends,  we  will  tame  our  great  friend .” 

Then  the  whole  tribe,  men,  women,  and  children,  assemble.  They  sing 
the  ha/mats’a  songs,  and  during  the  ensuing  day  the  ye'wix-ila  pays 
them  for  their  bites,  the  price  being  one  canoe  for  each  bite.  The 
women  who  danced  receive  bracelets;  the  men  who  sang,  button  blan- 
kets. These  presents  must  be  returned  with  interest  when  the  receivers 
give  a festival  another  year. 

All  the  que'qutsa  must  now  leave  the  building.  The  fool  dancers 
and  bears  are  also  required  to  go  out.  Only  the  ha/mats’a,  ha'mshain- 
tsEs,  no'ntsistalaL,  qoe'qoasElaL,  na/ne  of  BaxbakualanuXsi'wae,  and 
k-i'nqalaLala;  the  laxsa,  stay.  They  nail  the  door  up  and  close  all 
the  chinks  and  holes  in  the  walls.  The  k-i'nqalaLala  take  the  batons, 
then  all  the  ha'mats’as  begin  to  cry  u hap,  hap.”  The  lia'mshamtsEs  cry 
“ wip,  wip,  wip,”  and  all  the  others  utter  their  peculiar  sounds.  The  k-i'n- 
qalaLala  beat  time,  and  each  sings  his  own  song.  During  this  time  the 
ha/mats’a  gets  excited,  goes  around  the  fire  and  around  the  ha'msp’eq 
four  times.  Then  they  lift  the  ha'msp’eq  and  pull  it  down,  laying  it  so 
that  it  slants  down  from  the  roof.  During  this  ceremony  all  the  ha'rna- 
ts’as  are  naked.  Four  times  they  go  up  and  down  the  ha'msp’eq  while 
it  is  in  this  position,  crying  ahap,  hap.”  Then  the  ha'msp’eq  is  taken 
down  entirely.  The  ha/mats’as  cut  it  into  four  pieces,  while  the  k-i'nqa- 
laLala  and  the  others  who  are  present  make  as  much  noise  as  possible. 
Then  four  ha'mats’as  carry  each  piece.  They  carry  it  around  the  fire, 
turning  in  front  and  in  the  rear  of  the  house,  and  crying  u hap”  all 
the  time.  Then  they  throw  the  pieces  into  the  tire.  Next,  the  ma/wiL 
is  pulled  down  and  burnt  with  similar  ceremonies.  For  four  days  they 
remain  in  the  house  singing  the  new  ha'inats’a  songs.  On  the  fourth 
day  they  dress  in  red  cedar  bark,  strew  their  heads  with  feathers,  and 
blacken  their  faces.  Then  the  wa'leqa — the  first  meal  of  the  ha'inats’a 

1 Hamayaai'  qa  s quequtsai'. 

Food  for  you  que'qutsa. 

2 Qa  qEmxsale  qa  kuXwuLtsEwe  qa,  da/daLts&le 

For  turning  to  left  in  qana'yu,  for  falling  out  of  qana'yu,  for  laughing  through  qana'yu. 

3Lamans  ia'LaLai',  nenEmokoaf,  laxans  nEmoxtse'  (Xauqumq'ESElag-ilisk-as'o 
Wewiil  tame  friends  our  great  friend  (Real  skull  eater). 

BaxbakualanuXsfwae). 


THE  KWAKIUTL  INDIANS. 


537 


after  his  return  from  the  bush — is  celebrated.  The  k-i'nqalaLala  leaves 
the  house,  followed  by  the  ha/mats’a,  each  singing  his  own  song.  They 
go  into  four  houses  and  are  fed  by  the  people.  The  ha/mats’a  must 
eat  all  that  is  given  to  him.  Then  they  walk  into  the  next  house,  where 
they  are  fed  again. 

Now  the  whole  tribe  assembles  again  in  the  house  of  the  ye'wixdla. 
A canoe  mast  is  put  up  in  the  middle  of  the  house,  and  the  master  of 
ceremonies  asks,  “ Who  will  take  the  red  cedar  bark  off  from  the  people 
and  keep  it  until  next  winter?”  Whoever  intends  to  give  a winter 
dance  the  following  winter  must  step  up  and  take  hold  of  the  stick. 
Then  all  the  people  take  their  rings  off  and  throw  them  into  the  fire. 
Four  only  are  kept  until  the  next  year.  The  people  tie  handkerchiefs 
around  their  heads  in  place  of  the  cedar  bark. 

Then  “the  sound  of  the  batons  is  driven  out  of  the  house.”  The 
people  beat  time  four  times  and  then  throw  all  the  sticks  into  the  fire. 
This  is  the  end  of  the  winter  dance. 

After  biting  persons,  and  particularly  after  eating  slaves  or  bodies, 
the  ha/mats’a  must  observe  a great  many  rules.  Immediately  after  they 
have  eaten  of  a corpse,  the  he/lig-a  brings  them  salt  water,  of  which 
they  drink  great  quantities  in  order  to  produce  vomiting.  If  they  do 
not  vomit  as  many  pieces  as  they  have  swallowed,  their  excrements  are 
examined  in  order  to  ascertain  if  all  the  pieces  of  human  flesh  have 
passed  the  body.  The  bones  of  the  body  that  they  have  eaten  are  kept 
for  four  months.  They  are  kept  alternately  four  days  in  their  bedrooms 
on  the  north  side  of  the  house  where  the  sun  does  not  strike  them,  and 
four  days  under  rocks  in  the  sea.  Finally  they  are  thrown  into  the  sea. 

The  ha/mats’as  are  not  allowed  to  go  out  of  the  house  door,  but  they 
must  use  the  secret  door  in  the  rear  of  the  house  only.  When  one  of 
them  goes  out  to  defecate,  all  the  others  must  go  with  him,  each  carry- 
ing a small  stick.  They  must  all  sit  down  together  on  a long  log. 
They  must  rise  again  three  times,  and  do  not  sit  down  until  the  fourth 
time.  Before  sitting  down  they  must  turn  four  times.  Before  they 
rise  they  must  turn  four  times.  Then  they  go  back  to  the  house. 
Before  entering  they  must  raise  their  feet  four  times.  With  the  fourth 
step  they  really  pass  the  door.  They  go  in,  the  right  foot  first.  In  the 
doorway  they  turn  four  times  and  walk  slowly  into  the  house.  They 
are  not  allowed  to  look  back. 

For  four  months  after  eating  human  flesh  the  ha/mats’a  uses  a spoon, 
dish,  and  kettle  of  his  own,  which  are  thrown  away  after  the  lapse  of 
the  prescribed  time. 

He  must  wear  soiled  cedar  bark.  He  must  stay  alone  in  his  bedroom. 
A grizzly  bear  dancer  is  placed  in  the  doorway  to  see  that  no  one 
enters. 

Before  taking  water  out  of  a bucket  or  before  dipping  it  out  of  a 
brook  he  must  dip  his  cup  three  times  into  the  water.  He  must  not 
take  more  than  four  mouthfuls  at  one  time. 


538 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


He  must  carry  a wing  bone  of  an  eagle  and  drink  through  it,  as  his 
lips  must  not  touch  the  brim  of  his  cup.  He  also  wears  a copper  nail 
to  scratch  his  head  with,  as  his  nails  must  not  touch  his  skin,  else  they 
would  come  off.  For  sixteen  days  after  he  has  eaten  human  flesh  he 
must  not  eat  any  warm  food,  and  for  four  months  he  is  not  allowed  to 
blow  hot  food  in  order  to  cool  it.  For  a whole  year  he  must  not  touch 
his  wife,  nor  is  he  allowed  to  gamble  or  to  work.  When  the  dancing 
season  is  over,  he  feigns  to  have  forgotten  the  ordinary  ways  of  man, 
and  has  to  learn  everything  anew.  He  acts  as  though  he  were  very 
hungry  all  the  time. 

The  whole  ceremonial  of  bringing  back  the  novice  is,  according  to 
the  ideas  of  the  Kwakiutl,  a repetition  of  the  same  ceremonial  per- 
formed by  the  wolves  who  attempted  to  bring  back  their  novices ; and 
the  following  tradition,  which,  however,  is  not  complete  in  all  its  details, 
is  made  to  account  for  its  origin : 1 

Mink  made  a salmon  trap  back  of  Qa/logwis,  the  village  of  the 
Kwakiutl.  The  different  tribes  held  a winter  ceremonial,  and  the  sons 
of  the  chief  of  the  wolves  had  disappeared  in  the  woods.  While  there 
they  spoiled  Mink’s  salmon  trap.  For  three  days  they  did  so.  Then 
Mink  became  angry.  He  made  up  his  mind  to  watch  who  was  tamper- 
ing with  his  salmon  trap.  He  went  there  in  the  evening  and  hid  near 
his  salmon  weir.  Now  the  four  sons  of  the  wolf,  who  had  disappeared 
in  the  woods,  came.  They  went  right  up  to  the  salmon  weir  and  took 
out  the  salmon  that  had  gone  into  it.  Then  Mink  said  to  himself, 
“ You  are  the  ones  who  tampered  with  my  weir.”  They  sat  down  and 
ate  the  salmon  raw.  Mink  crawled  up  to  them  from  behind  and  killed 
them  with  his  club.  He  cut  off  their  heads,  and  went  home  carrying 
the  four  heads.  Nobody  knew  that  he  had  killed  them ; even  his  mother 
did  not  know  it. 

Now  the  wolves  were  going  to  bring  back  their  novices  after  two 
days.  When  the  time  came  for  bringing  the  novices  back,  Kue'kuaxaoe 
was  master  of  ceremonies.  Mink  closed  all  the  holes  and  chinks  of  his 
own  house,  and  tied  ropes  of  cedar  around  it  to  strengthen  it. 

Before  daylight  Mink  went  in  his  canoe  to  Me'mk-uinlis.  He  made  a 
salmon  weir  of  stones.  Then  he  went  and  sat  down  on  a rock.  He 
looked  at  his  weir.  “ What  fish  is  in  my  trap  ? ” he  said.  “A  small  bull 
head,”  replied  the  trap.  Then  he  scratched  his  head.  “Oh,  that  is 
pretty;  I am  working  hard  looking  after  my  trap!  Throw  it  into  the 
water!”  He  asked  again,  “What  fish  is  in  my  trap?”  It  replied,  “A 
small  flounder.”  He  threw  it  into  the  water,  and  then  the  trap  had 
caught  first  an  eel,  then  a dogfish,  a perch,  a silver  perch,  a cohoes  sal 
mon,  a dog  salmon,  a humpback  salmon,  a steel-head  salmon,  a spring 
salmon,  and  finally  a si'siuL.  Then  he  said,  “That  is  it;  that  is  it!” 
and  he  was  glad.  He  took  the  sI'siuL  out  of  his  trap  and  put  it  down 
on  the  rock.  He  broke  off  hemlock  branches,  laid  them  into  his  canoe, 
and  put  the  fish  on  top  of  them.  Then  he  went  home  to  his  house  at 


Appendix,  page  725. 


THE  KWAKIUTL  INDIANS. 


539 


Qa/logwis.  He  went  ashore  to  his  house.  His  mother  was  lying  down. 
Then  Mink  spoke:  “ Don’t  stay  here,  grandmother,  but  carry  my  fish 
into  the  house.”  His  mother  went  down  to  the  beach.  She  went  to 
the  canoe  an  i looked  in  vain  for  the  fish.  Her  body  became  contorted $ 
her  head  looked  backward,  because  she  had  seen  the  si'siuL.  Mink 
waited  for  his  mother  a long  time.  Then  he  arose  and  went  to  look 
•for  her.  He  found  her,  and  saw  that  her  whole  body  was  contorted. 
“That  is  the  way,  grandmother!  Are  you  so  glad?”  He  took  her  and 
straightened  her  body.  He  carried  the  si'siuL  himself  from  the  beach 
to  the  house.  He  put  it  into  a box.  It  became  evening.  The  people 
intended  to  bring  back  the  novices  that  night.  In  vain  they  beat  the 
boards  for  the  expected  ones.  They  had  been  killed  by  Mink. 

The  people  were  still  singing  in  the  house.  One  of  the  chiefs  said, 
“Let  us  try,  dancers,  to  bring  back  our  novices.”  But  when  they  did 
not  come  after  numerous  attempts,  one  of  them  spoke:  “Dancers,  we 
are  not  going  to  succeed  in  bringing  back  our  novices.”  One  of  them 
replied,  “ Wash  yourselves,  friends.”  Then  the  last  one  spoke:  “You 
who  are  not  initiated,  turn  your  faces  toward  the  rear  of  the  house. 
We  will  go  in  before  dark.”  Then  the  people  thought  they  would  have 
to  give  up  trying  to  bring  back  their  novices.  They  listened,  but  did 
not  hear  the  arrival  of  the  supernatural  power. 

Tip  to  this  time  Mink  had  not  made  his  appearance.  Then  the  people 
said,  “What  is  the  matter  with  our  chief  K-ex*  (mink)?”  They  went 
to  fetch  him.  Now  Mink,  and  his  cousins  the  raccoon,  the  killer  whale, 
and  the  squirrel,  did  what  they  had  planned.  His  sister  Ts’E'stayukoa 
and  the  raccoon  went  and  pulled  out  a board  in  the  rear  corner  of  the 
dancing  house.  The  raccoon  sat  down  in  that  corner.  Now  K*ex* 
came  in.  He  danced  a little  while  and  went  out  again.  Then  he  came 
in  and  danced  again  with  his  sister.  He  sang, — 

Spread  your  legs,  TsVstayukoa, 

Spread  your  legs,  Ts’E'stayukoa, — 

and  jumped  through  between  the  spread  legs  of  his  sister. 

Then  he  came  in  again.  He  wore  the  heads  of  the  wolves  for  his 
mask.  But  he  was  hiding  them  behind  his  blanket.  He  sang: 

Mink  is  wearing  the  middle  of  the  face  of  the  sons  of  the  chief  of  the  wolves. 

He  went  out  again  5 and  when  he  came  in,  the  heads  of  the  wolves 
were  attached  to  his  blanket.  Now  the  people  tried  to  kill  him, 
because  they  saw  that  he  had  killed  the  sons  of  their  chief.  Then  he 
went  out  of  the  doorway  in  the  rear  while  his  friends  the  squirrel  and 
the  raccoon  were  beating  the  drum.  He  came  in  again  wearing  the 
si'siuL  mask.  As  soon  as  he  entered  the  door  he  uncovered  the  mask, 
and  all  the  people  died  in  convulsions  when  they  saw  it.  Then  K*ex* 
selected  all  his  relatives  and  the  people  whom  he  liked  and  resuscitated 
them.  That  is  the  end. 

The  initiation  of  members  of  the  lower  grades  of  the  ts’e'tsaeqa 
is  not  attended  with  as  elaborate  ceremonies  as  that  of  the  la'xsa. 


540 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


Their  initiation  is  called  kue'xalak".  Those  who  are  initiated  by  the 
kue'xalak11  ceremonies  are  called  g-ixseg-i,  that  means,  leaning  against 
the  wall  of  the  ma/wiL.  In  most  cases  they  return  from  their  initia- 
tions during  the  festivals  celebrated  to  bring  back  a novice  of  the 
la'xsa.  Sometimes,  however,  while  the  people  are  assembled  at  a 
feast,  the  wi'xsa  or  kue;xalaku  novice  is  taken  away  by  the  spirits,  and 
then  his  father  announces  that  four  days  hence  he  will  be  brought 
back.  He  calls  the  master  of  ceremonies  of  the  kue'xalak11,  who  wears 
a head  ring  ornamented  with  five  feathers, — one  in  front,  one  on  each 
side,  and  two  in  the  back.  His  face  is  painted  red.  He  enters 
and  begins  to  go  around  the  fire,  swinging  his  baton  from  the  elbow. 
When  he  reaches  the  rear  of  the  house,  he  turns  around,  swinging  his 
stick,  and  then  gives  one  rap  on  a board,  crying  at  the  same  time 
“ha'mamamama”  (very  rapidly).  As  soon  as  he  does  so,  all  the  peo- 
ple strike  the  boards.  Meanwhile  the  master  of  ceremonies  turns 
around,  strikes  the  board  again,  crying  u hamamak.”  Again  all  the  peo- 
ple strike  the  boards  together  and  cry  “ha'mamamama.”  These  cries 
represent  the  sounds  made  by  the  ghosts.  The  master  of  ceremonies 
continues  his  circuit,  swinging  his  baton  all  the  time.  When  he  reaches 
the  door,  he  turns  again  and  proceeds.  When  he  reaches  the  rear  of 
the  house  the  second  time,  the  same  ceremony  is  repeated.  He  con- 
tinues his  circuit  in  the  same  way  as  before.  When  he  reaches  the  rear 
of  the  house  the  third  time,  he  turns  and  cries  “yehee'”  and  gives  a 
rap  on  the  boards ; then  all  the  people  cry  u yehee'hoboo.”  This  repre- 
sents the  sound  of  the  wolf.  While  the  people  are  beating  time  the 
master  of  ceremonies  turns  again  and  then  strikes  the  boards,  crying 
“yehee,”  drawing  out  the  last  syllable  as  long  as  possible.  Then  the 
people  strike  the  boards  all  at  the  same  time  and  repeat  his  cry. 

The  master  of  ceremonies  goes  around  the  fire  the  fourth  time,  and 
when  he  reaches  the  rear  of  the  house,  he  turns  and  cries  u wowowo”  or 
uwoe/p.”  Then  the  people  beat  time  and  say  “kf”  (the  f drawn  out 
very  long).  This  is  the  sound  of  Hakalik-ila.  During  this  time  the 
whistles  of  the  ghosts  are  heard  continuously. 

When  the  master  of  ceremonies  turns  the  last  time,  he  smiles  at  the 
people,  strikes  the  board,  and  cries  u wo,”  to  which  all  the  people  reply 
u haa.”  The  ceremonies  of  this  evening  are  called  lbL. 

How  the  chief  steps  forward  and  says,  u This  is  finished,  friends; 
bring  in  your  boxes.” 1 While  he  remains  standing,  those  people  who 
are  willing  to  bring  boxes  leave  the  house  and  soon  return  carrying 
them  on  tbeir  shoulders.  The  lids  and  ropes  of  the  boxes  are  thrown 
into  the  fire.  The  boxes  are  placed  in  a row  in  the  rear  of  the  house,  the 
openings  turning  backward.  Then  the  ye'wixdla  asks  one  of  his  rela- 
tives or  his  daughter  to  dance.  He  holds  a large  staff  in  his  hand,  which 
is  called  qa/sop’eq  or  u feast  staff.”  He  promises  to  celebrate  the  winter 
dance;  and  calling  up  his  father-in-law  says  that  he  was  compelled  to 


Wa  nenEmo'k",  g-a'xLax'is  tVmiatse  Laos  nenEmo'ku. 


THE  KWAKIUTL  INDIANS. 


541 


celebrate  the  winter  dance  without  having  had  previous  knowledge  of 
what  was  coming,  and  requests  his  father-in-law  to  repay  him  for  the 
property  with  which  he  was  presented  at  the  time  of  the  marriage  of 
his  daughter.  The  father-in-law  rises,  asks  the  young  man  to  give 
him  the  staff,  which  he  grasps  in  the  middle,  holding  it  horizontally. 
Then  he  calls  his  friends  to  take  hold  of  the  staff  with  him.  By  doing 
so  they  pledge  themselves  to  help  the  old  man  to  repay  his  son-in-law. 
He  says  how  much  he  is  going  to  pay  to  his  son-in-law  and  returns  the 
staff  to  him.  Then  the  latter  takes  it  and  carries  it,  pretending  that  it 
it  is  exceedingly  heavy,  saying,  uo,  o,  o,  o ! ” It  is  supposed  that  the 
property  is  attached  to  the  staff. 

The  father-in-law  asks:  “ When  will  you  want  me  to  pay  you  all  this 
property  ? ” And  the  young  man  says  that  he  wants  it  by  the  third  day. 
The  following  days  the  people  are  invited  to  feast  and  to  dance  in  the 
chief’s  house.  A sail  is  stretched  across  the  rear  of  the  house.  The 
seal  society  have  their  seats  close  to  this  sail. 

How  the  master  of  ceremonies  rises  and  calls  one  man  (the  ma'mE- 
nats’enox),  whose  office  it  is  to  look  after  the  drum.  This  office  is 
hereditary.  The  master  of  ceremonies  says:  “ Go  and  bring  your 
inheritance.”  The  man  rises,  steps  up  to  the  fire,  goes  around  it,  leaves 
the  house,  and  soon  returns  carrying  the  drum  on  his  shoulder.  He 
stops  in  the  doorway,  turns  around  silently,  and  walks  around  the  fire 
four  times.  He  stops  finally  in  the  left-hand  rear  corner  of  the  house, 
where  he  puts  down  the  drum  on  its  flat  side.  He  carries  a small 
whistle  in  his  mouth  ana  every  time  he  pushes  the  drum  he  blows  the 
whistle.  It  is  of  course  supposed  that  this  sound  is  produced  by  the 
drum.  Then  he  says,  “It  is  done;  I have  brought  my  inheritance.” 
The  master  of  ceremonies  asks,  “Hid  you  bring  the  baton  with  you?” 
To  which  the  man  replies,  “ My  grandfather  has  been  dead  so  long 
that  I forgot  this  part  of  my  inheritance.”  He  is  sent  to  fetch  it,  and 
walks  out  of  the  house  and  returns  in  the  same  way  as  the  first  time. 
He  deposits  the  batons  in  the  middle  of  the  rear  of  the  house,  and 
every  time  he  moves  them  he  blows  another  whistle. 

Then  the  master  of  ceremonies  calls  another  man,  whose  office  it  is 
to  look  after  the  eagle  down.  This  office  is  also  hereditary.  He  goes 
out  in  the  same  way  as  the  other  officer,  and  soon  returns,  carrying  a 
painted  bag  filled  with  down.  He  says,  “Here  is  the  bag  which  my 
grandfather  left  for  me  to  take  care  of.”  He  walks  around  the  fire 
four  times,  turning  in  the  front  and  in  the  rear,  and  finally  deposits  it 
in  the  right  hand  front  corner  of  the  house.  Then  four  men  take  four 
dishes,  each  takes  one  handful  of  down  out  of  the  bag,  and  puts  it  into 
the  dish.  The  down  is  pulled  apart  so  that  it  fills  the  dishes  entirely. 
The  owner  of  the  down  shakes  his  bag,  which  then  appears  to  be 
quite  full  again,  and  carries  it  back.  It  is  supposed  that  the  bag 
always  remains  full.  Then  the  master  of  ceremonies  takes  up.  one  of 
the  dishes  and  asks  his  brother,  who  is  chief  of  the  que'qutsa,  to  take 


542 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


another  one.  The  name  of  this  office  is  da/sqame  xa  kue'xalak",  holder 
of  the  kue'xalak11.  The  officer  has  the  name  Q’E'mtq’atas.1  Two  other 
men  take  the  other  two  dishes  and  they  walk  around  the  fire  once. 
Then  they  begin  to  strew  the  down  on  the  heads  of  the  people.  The 
master  of  ceremonies  begins  either  with  the  habnshamtsEs  or  with  the 
bear-fool  dancers  (nE'nq’oLEla)  (see  p.  499  No.  16).  Then  he  gives  eagle 
down  to  the  fool  dancers  and  to  all  the  other  dancers. 

Then  the  master  of  ceremonies  goes  around  the  fire  again,  swinging 
the  baton.  He  stops  in  the  rear  of  the  house  and  strikes  a box.  All  the 
people  imitate  him.  Then  a number  of  women,  who  are  hired  for  the 
purpose,  begin  to  dance.  The  people  sing  one  song  for  each  of  the 
women.  After  this  dance  the  chief  of  the  que'qutsa  promises  a feast 
for  the  next  day,  and  the  people  go  home. 

The  next  morning  a number  of  que'qutsa  go  around  from  house  to 
house  to  invite  the  people  for  the  feast.  The  same  women  who  danced 
the  first  night,  dance  this  evening.  Again  a feast  is  announced  for 
the  following  day.  On  this  day  all  the  dancers  who  are  allowed  to 
wear  masks  enter  first  and  arrange  themselves  behind  the  sail,  wearing 
their  masks.  Then  the  people  enter,  last  of  all  the  master  of  cere- 
monies, wearing  his  cedar  bark  ring,  his  face  painted  red.  Again  be 
swings  his  stick  from  the  elbow,  turns  in  the  house,  and  says  u woi  woi,” 
and  strikes  the  box.  Then  all  the  people  beat  the  boxes  for  about  ten 
minutes.  Suddenly  the  master  of  ceremonies  stretches  out  his  arm 
and  swings  the  baton  slowly  all  around.  The  people  stop  beating  time 
at  once.  He  continues  swinging  his  baton,  and  swings  it  faster  and 
faster.  Finally  he  beats  the  box  again,  and  again  all  the  people  begin 
to  beat  time.  Now  the  dancers  are  heard  behind  the  curtain,  each  with 
his  peculiar  sound.  The  curtain  begins  to  shake  and  is  lowered,  all 
the  masks  standing  behind  it.  This  is  the  end  of  the  celebration  of 
the  third  night.  Again  a feast  is  promised  for  the  next  day.  This 
evening  the  same  ceremony  is  repeated,  but  after  all  the  masks  have 
appeared  in  the  rear  of  the  house,  the  young  person  who  had  disap- 
peared in  the  beginning  of  the  ceremonies  comes  out  from  the  right 
hand  rear  corner  of  the  house.  He  sings  his  new  song  and  dances. 
Then  his  father  brings  out  all  the  property  given  to  him  by  his  father- 
in-law  and  distributes  it  among  the  people.  Bracelets,  coppers,  and 
spoons  are  given  to  the  women  and  children.  Silver  bracelets,  kettles, 
and  box  covers  are  given  to  the  men.  Before  the  people  go  home  the 
chief  promises  another  feast. 

The  following  day  the  people  assemble  again,  and  a feast  is  cele- 
brated, in  which  everybody  takes  part.  Before  they  begin  to  eat,  the 
host  brings  all  the  button  blankets  which  he  has  received  from  his 
father-in-law  and  distributes  them.  The  women  receive  white  blankets. 

According  to  tradition,  the  first  man  of  this  name  invited  the  people  to  a feast, 
but,  instead  of  feeding  them,  only  taught  them  four  songs.  The  name  means,  eating 
songs. 


THE  KWAKIUTL  INDIANS. 


543 


This  is  called  a present  to  wipe  the  mouth  with  (da/yaxstano).  Each 
person  receives  one  dish  and  spoons,  which  they  take  home  after  the 
feast.  After  this  feast  the  novice  receives  his  name.  Then  the  people 
leave  the  house.  The  purification  of  the  novice  is  performed  in  the 
same  way  as  described  above  (see  p.  532). 

Sometimes  the  kue'xalaku  begins  with  a curious  contest  between  the 
ts’e'tsaeqa  and  the  profane.  This  ceremony  is  used  by  the  Kwakiutl, 
Ma'maleleqala,  Mmkish,  Lau'itsis,  T’Ena'xtax,  Ts’a/watEenox,  Axua'- 
mis,  Qoe'xsot’enox.  The  tribes  forming  the  Xewettee  and  Koskimo 
group  use  the  ghost  dance  in  its  place.  Mr.  George  Hunt  told  me  the 
following  instance  of  the  performance  of  this  ceremony: 

The  Q’o'mkmtis,  Walas  Kwakiutl,  and  Kue'xa  had  celebrated  the 
ts’e'tsaeqa  without  inviting  the  Gue'tEla,  the  highest  of  the  Kwakiutl 
tribes.  Then  the  chief  of  the  last-named  tribe  called  all  his  people 
together  into  his  house.  He  put  up  a long  pole,  the  “ winter  dance  pole,” 
leaning  it  against  the  beam  of  his  house,  and  asked  his  people,  “Are 
you  glad  to  hear  the  winter  dance  going  ou  at  the  other  end  of  our  vil- 
lage while  you  are  asleep  in  your  houses  ? If  you  want  to  remain 
ba/xus,  do  so.  If  you  want  to  join  the  winter  dance,  then  one  of  you 
step  up  and  touch  this  pole.”  As  nobody  stepped  up  to  touch  the  pole 
he  put  his  hand  on  it  himself  and  said:  “ I will  be  the  ye'wix-ila;  but 
first  let  us  all  turn  ourselves  into  dogs”  (wa/tse;  in  the  ordinary  lan- 
guage, wao'tse).  Then  all  his  people  took  off  their  clothing,  even  their 
earrings  and  anklets,  the  women  keeping  only  a small  petticoat. 
They  blackened  their  faces  and  hands  and  painted  men’s  and  dogs’ 
faces  all  over  their  bodies.  Then  they  cut  the  winter  dance  pole  in 
pieces  about  a fathom  in  length  each.  The  chief  ordered  them  to  cut  a 
hole  in  the  rear  wall  of  the  house.  After  this  was  done,  they  went  out 
secretly  and  from  the  rear  approached  the  house  in  which  the  other 
tribes  were  celebrating  their  winter  dance.  Then  they  barked  like  dogs, 
broke  through  the  rear  wall  of  the  house,  and  drove  out  all  the  dancers, 
including  even  the  ha/mats’a.  They  broke  the  canoes  and  all  the 
belongings  of  the  dancers.  This  was  their  revenge  for  not  being 
invited  to  the  festival.  This  ceremony  is  called  wa/ts’axt,  which  means, 
dogs  running  from  one  house  to  the  other. 

Now  the  ts’et'saeqa  assembled  on  one  side  of  the  street,  while  the 
“dogs”  or  the  ba'xus  assembled  opposite  them.  The  chief  of  the 
Gue'tEla,  standing  in  front  of  his  tribe,  asked  the  ye'wix-ila  of  the  other 
tribes,  “Can  you  throw  the  supernatural  power  among  us?”  Then  the 
ts’e'tsaeqa  began  to  beat  time,  the  que'qutsa  and  me'emqoat  all  stand- 
ing together.  Then  the  t’o'X’uit  with  the  frog  stepped  out  from  among 
the  ts’e'tsaeqa  and  danced  like  the  ma'maqa,  trying  to  catch  his  super- 
natural power.  After  some  time  she  apparently  caught  it  in  her  hands 
and  threw  it  against  the  “dogs.”  The  first  throwing  is  called  the 
daE'lku  (dEda'LElaL,  Newettee  dialect),  which  means  laughing.  The 
dogs  laugh  and  bark  all  at  the  same  time. 


544 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


Then  the  ts’et'saeqa  beat  time  again.  Again  the  dancer  caught  bis 
supernatural  power,  went  four  times  forward  and  backward,  turned 
around,  and  threw  it  against  the  dogs.  Then  they  sat  down,  still  laugh- 
ing, and  began  to  scratch  their  heads.  Again  they  barked.  The 
ts’e'tsaeqa  beat  time  for  a third  time,  and  the  dancer  caught  the  super- 
natural power  again.  She  went  forward  and  backward  with  quick  steps, 
turned  around,  and  threw  it  again.  Then  the  dogs  rushed  into  the 
water,  scratching  and  rubbing  their  bodies,  which  means  that  they  are 
removing  the  ba/xus  from  their  bodies.  They  barked  and  came  out 
again. 

Now  the  que'qutsa  of  the  other  tribes  assembled  in  a group  by  them- 
selves and  sent  four  men  to  the  dogs,  apparently  to  send  some  message, 
but  actually  in  order  to  carry  to  them  some  red  cedar  bark.  After  they 
had  returned,  the  dogs  in  their  turn  sent  four  of  their, number  to  fetch 
some  more  cedar  bark.  This  is  repeated  four  times,  and  is  called 
ts’a/ts’exsila — that  is,  pretending  to  carry  messages. 

Now  the  chief  of  the  que'qutsa  spoke  to  his  people : “ Take  care;  don’t 
give  in,  and  remain  what  you  are.”  All  his  people  arose.  Then  the 
que'qutsa  beat  time  again,  and  the  dancer  continued  her  dance.  Sud- 
denly she  was  seen  to  hold  red  cedar  bark  in  her  hands.  Four  times 
she  went  backward  and  forward  holding  the  cedar  bark  and  moving  her 
hands  up  and  down.  She  turned  four  times,  and  every  time  stretched 
her  hands  out  as  though  she  was  going  to  throw  the  cedar  bark  against 
the  “dogs.”  The  fourth  time  she  really  threw  it.  Then  all  the  people 
stooped,  and  when  they  arose  again  they  had  cedar  bark  rings  on  their 
heads. 

Then  the  hamats’a,  nu/LmaL,  na/ne,  and  the  other  me'emqoat  of  the 
Gue'tEla  began  to  get  excited.  The  chief  pushed  his  son  toward  them. 
They  surrounded  him  and  dragged  him  around  until  all  of  a sudden  he 
disappeared.  Then  it  was  said  that  the  supernatural  power  had  taken 
him  away  from  the  ha/mats’a.  This  novice  was  now  kue'xalak11.  The 
chief  next  invited  all  the  “dogs”  and  the  ts’e'tsaeqa  into  his  house  and 
annou  iced  that  after  four  days  he  was  going  to  try  to  bring  the  novice 
back.  This  is  called  wa/sdana  qap’e'k",  or  short  assembly,  and  takes 
the  place  of  the  qap’e'k11  ceremony  described  above.  The  kue'xalak" 
then  continues  as  described  before. 

X.  The  Winter  Ceremonial  at  Fort  Rupert,  1895-96. 

In  the  preceding  chapter  I have  given  a general  description  of  the 
ceremonial  of  the  initiation  of  a single  novice.  When  the  ceremony  is 
actually  in  progress,  there  are  several  novices  to  be  initiated,  feasts  are 
being  held,  and  numerous  incidental  ceremonies  are  performed  which 
depend  upon  circumstances,  such  as  atonement  for  mistakes,  rivalry 
between  chiefs,  and  so  forth.  In  order  to  make  clear  the  character  of 
the  ceremonial,  I will  describe  in  the  present  chapter  the  ceremonial  as 
it  actually  took  place  and  so  far  as  I witnessed  it  in  the  winter  of 


THE  KWAKIUTL  INDIANS. 


545 


1895-96.  At  that  time  three  tribes  hacl  assembled  at  Fort  Rupert 
(Tsa/xis) — the  Kwakiutl,  the  Koskimo,  and  Na/q’oaqtoq.  The  Kos- 
kimo  included  also  the  Gm'p’endx,  L’a'sq’enox,  and  Gua'ts’enox.  I 
reached  Fort  Rupert  on  November  15, 1895,  and  shall  record  here  what 
I saw. 

On  the  16th  of  November  one  of  the  Na/q’oaqtoq  gave  a feast.  The 
Kwakiutl  had  their  seats  in  the  rear  of  the  house,  the  Koskimo  at  the 
right  hand  side,  the  Na/q’oaqtoq  on  the  left  hand  side.  When  all  had 
assembled,  the  chief  speaker  of  the  Na/q’oaqtoq  said:  “ Welcome, 
friends.  Now  that  you  have  all  come  in,  take  the  handles  of  your 
batons  and  sing.”1  Then  the  batons  were  distributed.  Planks  were 
laid  for  beating  time.  While  the  people  were  still  coming  in,  one  of 
the  que'tsEm  (que'qutsaj  began  to  tease  a fool  dancer,  who  intended 
to  give  up  his  dance  and  to  become  a que'qutsa.  He  pulled  his  nose, 
rubbed  it  with  snow,  and  threw  snowballs  at  it.  As  stated  before, 
the  fool  dancer  is  supposed  to  have  a long  nose,  and  to  resent  all  allu- 
sions to  the  nose.  He  does  not  allow  it  to  be  touched.  The  que'qutsa 
tried  in  this  manner  to  excite  him  so  as  to  prevent  him  from  leaving 
the  seal  society  and  becoming  a que'qutsa.  Finally,  a number  of 
que'qutsa  joined  the  first  que'tsEm.  They  pulled  the  nose  of  the  fool 
dancer,  spat  on  it,  and  smeared  it  with  grease,  notwithstanding  his 
endeavors  to  escape  them.  Finally,  they  tied  him  to  one  of  the  house 
posts  and  continued  to  maltreat  his  nose.  Now  the  Kwakiutl  sang 
two  songs.  They  were  followed  by  the  Koskimo,  who  sang  two  songs 
in  their  turn.  Meau while  the  meal,  which  consisted  of  soap  berries, 
had  been  prepared,  and  the  speaker  held  up  a dish  which  was  intended 
for  the  first  ha/mats’a.  He  shouted:  “This  is  the  dish  of  Yaqois.”2 
The  dish  was  carried  to  him.  The  members  of  the  seal  society  re- 
ceived their  shares  in  order,  next  the  women,  and  finally  the  que'- 
qutsa.  Now  the  host  turned  to  the  fool  dancer  who  was  tied  to  the 
post,  and  whom  the  people  were  teasing  again.  He  said:  “I  will  ask 
your  friends  to  stay  at  their  places  for  a little  while  because  I am 
cooking  for  you,  and  wish  to  feed  you.”  Then  several  of  the  fool  dan- 
cers came  to  his  assistance.  They  licked  the  grease  off  from  his  nose, 
untied  him,  and  took  him  back  to  his  seat.  As  soon  as  the  dishes  were 
distributed,  the  host’s  assistants  began  to  prepare  the  second  course, 
which  consisted  of  rice.  While  the  people  were  eating,  the  different 
societies  uttered  their  cries: 

“ The  hens  are  pecking  !”3 

“The  great  seals  keep  on  chewing.”4 

1 (UaxmEns  uenEmo'ku  wI'laeLela.  Wai/g-a  d’axLa/liLaxs  t7a/miayu  qa  8 
We  came  friends  all  in  the  house.  Go  on  ! take  at  the  handle  the  batons  for  to 
lu/g'ustalag-aos,  nenEmo'k11. 
go  upward  (sing),  friends. 

2Lo/qulas  Ya/qois. 

SriEiiLa/Lg'a  qaqaqacV. 

4 Ya'laExdLax-  qamk’oaLg*a  me'emkoatse'k- 
NAT  MUS  95 35 


546 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


“The  food  of  the  great  killer  whales  is  sweet.771 

“The food  of  the  foolish  boys  is  sweet.772 

“The  great  rock  cods  are  trying  to  get  food.773 

“The  great  sea  lions  throw  their  heads  downwards.774 

The  Mosmos  said:  “ It  will  be  awful.775 

When  uttering  these  cries,  the  members  of  the  societies  lifted  their 
spoons  and  seemed' to  enjoy  the  fun.  Next,  the  Koskimo  (tribe)  lifted 
their  spoons  and  all  cried  “yu.77  Then  they  ate  as  quickly  as  they  could, 
and  all  the  different  que'qutsa  societies  vied  with  each  other,  singing 
all  at  the  same  time. 

Next,  a man  arose  who  acted  as  though  he  was  a Haida.  He 
delivered  a speech,  during  which  he  made  violent  gestures,  imitating 
the  sound  of  the  Haida  language.  An  interpreter  who  stood  next  to 
him  translated  the  pretended  meaning  of  his  speech,  which  was  sup- 
posed to  be  of  the  nature  of  thanks  to  the  host  for  the  soap  berries, 
because  they  were  one  of  the  principal  food  articles  of  the  Haida,  and 
because  the  speaker  was  pleased  to  eat  the  kind  of  food  to  which  he 
was  accustomed  in  his  own  country.  He  continued,  saying  that  he 
carried  a box  filled  with  food  which  he  was  going  to  give  to  the  person 
who  would  pronounce  his  name.  Then  the  host’s  daughter  was  called 
upon,  and  was  asked  to  say  his  name.  He  began,  G-a/tso,  which  she 
repeated;  Se'as,  which  she  also  repeated;  then  followed,  spoken  very 
rapidly,  Qoaga/n  Gustate/n  Gusgitate'n  Gusoa't  Qoag’e'ns  Qaqa/xsl  i.* 2 3 4 5 6 7 
Then  she  said:  “lean  not  say  this;  I must  go  to  school  in  order  to 
learn  it.77  The  Haida  asked  her  to  go  to  school  with  him  for  four 
nights;  then  she  would  know  it.  The  girl’s  father  interrupted  them, 
saying  that  he  wanted  to  wash  his  daughter  before  she  went  to  school 
with  him. 

Now  the  Kwakiutl  and  the  Koskimo  sang  two  songs  each,  before  the 
rice  was  dished  out.  After  the  songs  the  host’s  father-in-law,  who  had 
contributed  the  rice  for  the  feast,  spoke  as  follows : “ O,  friends ! I have 
not  finished  giving  food  for  the  marriage  of  my  son-in-law  to  my 
daughter;77  and  turning  to  his  son-in-law,  he  continued:  “Don’t  say 
that  word.  Don’t  refuse  my  kind  offer,  else  I shall  be  ashamed.  I do 
not  do  the  same  as  other  people,  who  only  pretend  to  give  f&asts,  giv- 
ing only  to  those  who  have  to  buy  my  property  from  me,777 

^’a/xaaX’wist’ag-a  maa'mx’enoxtsek' ! 

2Q’a/xaaX’wTst’ag'a  naanE'Xsokuek* ! 

3Ya/laLxoLak’  ha/mek'aLg'a  t’o't’opatse! 

4T’a/wiqasg*a  ifeL’exentse ! 

5 A'dzeg'anEmLtse. 

HThis  joke  has  been  known  for  about  eight  years,  and  is  often  repeated. 

7The  son-in-law  had  hesitated  to  accept  the  rice  for  this  feast  and  the  old  man 
referred  to  this  fact. 

Qa/LEn,  nenEmo'ku,  g'a/mala  we'SKn  wfwosilaqa,  g'I'LEn  k'VtsEnae  qoa/LqoaLa 

Yes  I friends,  for  this  reason  not  I poor,  as  I finished 

wa/waLgila  xEn  nEgu'mpe.  Qoa'la  ne'k'oL,  qoa'la  nek'  ses  wa'LdEmos. 
giving  food  at  the  time  of  my  son-in-law.  Don’t  say,  don’t  speak  that  your  word, 
marriage  to 


THE  KWAKIUTL  INDIANS. 


547 


While  the  rice  was  being  eaten  a man  arose  and  announced  that  he 
was  going  to  buy  a copper  from  E'wanuXtse.  The  latter  replied,  but 
in  his  speech  he  made  a mistake,  naming  the  summer  name  of  a person. 
He  was  interrupted  at  once  and  compelled  to  sit  down. 

November  18. — In  the  morning  the  Kwakiutl  assembled  in  their 
secret  meeting  place  in  the  woods.  A new  bear  dancer  and  fool  dancer 
were  to  be  initiated  in  the  evening  and  the  plan  of  the  festival  was 
laid  out.  At  the  same  time  the  song  makers  taught  the  people  the 
four  new  songs  which  the  father  of  the  new  bear  dancer  had  bought 
from  them,  and  which  were  to  be  sung  in  the  evening.  Then  x)a'l£axbla, 
who  was  going  to  give  the  dance,  made  the  following  speech: 

“Now  come,  my  tribe,  come  Nu'xnemis,  come  Ho'LElite,  come 
LE'mg-ala,  x-i'xak-ala,  and  Nenau'alakuela.  Now  I will  make  my  speech 
on  this  place  of  my  friends.  I will  let  you  know  my  heart,  friends. 
We  will  begin  to  beat  the  boards  this  night.  You  shall  begin  the 
songs,  De'mis,  and  you  Waxsganulisax,  and  you  NaXuallsax,  you 
song  makers.  That,  Ts’a'qame  and  Go'koayu,  is  all  that  we  say  to  our 
friends.” 

Then  NE'msqemut  arose  and  answered:  “I  am  the  one  who  was 
struck  by  the  words  of  our  friend.”  All  the  men  who  were  sitting  on 
the  ground,  said:  “Goon!”  He  continued:  “Now  come!  Listen  to 
the  speech  of  our  friend  on  this  ground  and  take  care  else  the  secret  of 
our  song  makers  will  be  known.  I say  this,  Nu'xnemis  and  Ho'LElite. 
Take  care,  friends.  I say  this,  LE'mg-ala,  I say  this,  x-I'xak-ala.” 

Then  the  song  makers  sung  and  put  words  into  the  old  songs.  Now 
the  song  maker  finished.  Then  the  men  who  gave  the  ceremonial  told 
how  many  dancers  there  were  to  be  and  how  many  songs.  Now  he 
finished.  Then  the  song  maker  took  as  many  sticks  as  there  were  to 
be  dancers,  and  gave  them  to  him.  Then  the  man  who  gave  the  cere- 
monial named  each  dancer  and  said:  “This  will  be  the  song  of  Ga'yax- 
stalasas,”  and  pushed  one  stick  into  the  ground.  Then  he  called  the 
name  of  another  one  and  put  a stick  into  the  ground.  He  put  down  as 
many  sticks  as  there  were  women  who  were  to  dance. 

When  he  had  spoken,  LE'mg-ala  arose  and  asked  his  tribe : “ How 
will  you  dress'?”  The  chief  of  the  killer  whales,  Qa'quLayl,  arose  and 
said  he  would  go  with  his  friends,  and  the  chief  of  the  policemen,  Gu'- 
kwayu,  arose  and  said  he  would  go  with  his  men  and  they  would  dress. 
LE'mg-ala  was  standing  all  the  time  while  the  people  were  speaking. 
After  they  had  finished,  he  said:  Now,  Qa'quLayi,  now  Gu'kwayu, 
you  have  finished  your  speeches.  I thank  you.  Why  should  you  be 

Qoa/la  La/qoa  xEn  na/qae  qa  s a'LEii  ana'xtsala.  K-’esEn  he'qag-ile  da  bEgwa/nE- 
Don’t  push  back  my  heart  for  else  I ashamed.  Not  I do  thus  the  (other) 

maxs  k’ue'k’uaxalae  Lawis  -ia/walaqalut.  He'imeq  nenEmo/ku 

men  who  merely  pretend  to  do  and  the  one  who  has  to  buy  my  wealth.  That  is  it  friends 
(to  give  feasts) 

qants  ne'k-a.  Wa! 
we  say.  Wa! 


548 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


ashamed,  friends ? We  do  not  need  to  be  ashamed  of  what  we  are 
doing  here  in  the  woods.” 

He  continued:  “Now  take  care,  members  of  the  seal  society!  put  on 
your  painting  of  charcoal.  Take  good  care  of  what  we  are  doing  in  the 
house;  if  anything  should  happen  to  one  of  our  masks  you  must  get 
excited.  Wa,  wa!” 

After  their  return  they  were  invited  by  one  man  of  the  tribe  to  a seal 
feast  in  which  the  Na/q’oaqtoq  and  Koskimo  did  not  take  part,  because 
seal  feasts  are  considered  a privilege  of  the  noblest  tribe,  namely,  the 
Kwakiutl.  The  seal  was  singed  and  boiled.  Then  the  skin  with  the 
adhering  blubber  was  cut  spirally  all  around  the  body,  and  handed  to 
the  men  who  stood  up  all  around  the  house.  They  received  about  a 
yard  of  blubber  each.  Then  the  host  made  a short  speech;  and  after 
the  four  feast  songs  were  sung,  they  all  fell  to.  After  the  blubber  was 
dispatched,  the  meat  was  distributed  in  dishes'and  eaten. 

In  the  evening  the  father  of  the  new  bear  dancer  gave  a feast.  The 
Kwakiutl  sat  in  the  rear  of  the  house,  the  Koskimo  on  the  left  hand 
side  on  entering,  the  Na/q’oaqtoq  on  the  right  hand  side.  When  all 
had  entered,  the  members  of  the  seal  society  came  in — first  the  bears 
dressed  in  button  blankets.  They  had  bears’  paws  oh  their  hands,  put 
on  likemittens.  They  remained  standing  in  the  door  and  looked  around 
wildly.  The  next  to  enter  was  the  Ts’o'noqoa,  who,  according  to  the 
tradition,  is  sleeping  all  the  time.  She  had  her  eyes  closed  and  attempted 
to  go  to  the  rear  of  the  house,  turning  to  the  left,  while  the  customary 
circuit  is  to  the  right.  One  of  the  messengers  who  was  stationed  in  the 
door  took  her  by  the  arm  and  led  her  to  the  right.  A rope  was  stretched 
from  the  door  to  her  place,  along  which  she  walked  to  her  seat  in  the 
rear  of  the  house,  feeling  her  way  by  means  of  the  rope.  The  next  to 
enter  were  the  fool  dancers.  While  they  were  going  to  the  rear  of  the 
house  a loud  noise  was  heard  outside.  They  pretended  to  be  afraid, 
hid  their  faces  among  the  people,  and  hastened  to  their  seats  in  the 
rear  of  the  house.  The  noise  came  nearer,  the  door  opened,  and  in 
came  the  killer  whales,  young  men  and  boys,  dressed  in  blankets  and 
having  long  carved  fins  attached  to  their  backs.  Some  of  these  consisted 
of  a sheath  in  which  a carved  board  was  placed  so  that  it  could  be  pulled 
out  and  dropped  back  by  means  of  strings,  thus  giving  the  appearance 
of  a fin  which  was  alternately  lengthening  and  shortening.  The  men 
came  in  stooping  down  low,  so  that  the  fins  stood  upright.  They  blew 
like  whales,  turned  in  front  of  the  fire,  and  slowly  went  to  the  rear  of 
the  house,  leaving  the  fire  to  their  left,  stopping  and  blowing  on  their 
way.  After  they  had  made  one  circuit  they  disappeared  again.  Next, 
a number  of  people  came  in,  spreading  their  blankets  and  imitating 
motions  and  voices  of  ducks.  They  went  to  the  rear  of  the  house.  As 
soon  as  all  had  assembled  the  people  began  to  sing.  Suddenly  a man 
holding  his  young  son  on  his  arms  rushed  out  of  the  right  hand  rear 
corner  of  the  house,  ran  around  the  fire  uttering  the  cries  of  the  nu'L- 


THE  KWAKIUTL  INDIANS. 


549 


maL  “hi,  hi,  hi,  hi!”  and  pushing  right  and  left  with  a dagger  which 
he  was  carrying.  At  the  same  time  he  smeared  his  son’s  face  with  the 
mucus  of  his  nose,  thus  “ imbuing  him  with  the  sacred  madness  of  the 
nu/LmaL.”  The  poor  child  was  frightened,  and  cried  piteously  during 
the  ceremony.  This  was  his  initiation  in  the  nu'LinaL  society.  It 
happened  during  an  interval  between  the  four  songs  which  were  sung 
before  the  meal. 

After  the  people  had  eaten,  the  bear  rushed  out  of  the  same  corner 
whence  the  fool  dancer  had  come.  He  was  dressed  in  a bear  skin  and 
came  out  on  all  fours,  pawing  the  ground,  growling,  and  looking  wildly 
upon  the  spectators.  The  people  began  to  sing  the  first  of  his  new 
songs,  and  eighteen  women  danced  accompanying  the  song,  in  order 
to  appease  his  holy  wrath.  The  songs  pacified  him,  and  he  disappeared 
again  in  the  corner  of  the  house  from  which  he  had  come  and  where 
he  is  supposed  to  be  initiated.  After  this  the  second  course  was  served, 
and  then  the  people  dispersed,  each  lighting  his  torch  and  wending 
his  way  home  along  the  dark  street  or  down  along  the  beach  and  up 
the  narrow  bridges  which  cross  the  stream  leading  from  the  beach  to 
the  street.  Soon  the  glimmering  lights  disappeared  in  the  houses, 
where  the  fires  were  tended  before  everybody  went  to  his  bedroom  to 
enjoy  the  rest. 

On  the  19th  of  November  the  first  ha/mats’a  gave  a feast  of  salmon 
and  berries.  Early  in  the  morning  he  himself,  accompanied  by  the  seal 
society,  went  from  house  to  house,  their  faces  blackened,  and  dressed 
in  their  various  ornaments — the  fool  dancers  with  their  lances,  the 
bears  with  their  enormous  paws.  The  fool  dancers  knocked  at  the 
doors  with  their  lances.  Then  they  entered  and  invited  the  people  with 
the  same  words  as  are  used  at  ordinary  occasions.  But  they  did  not 
raise  their  voices $ they  uttered  the  invitation  in  a low  growling  tone. 
Whenever  the  name  of  a person  was  mentioned  the  meaning  of  which 
in  some  way  offended  the  bears,  they  pushed  the  speaker — one  of  the 
fool  dancers— so  that  he  almost  fell  down.  While  the  names  were 
being  called,  the  members  of  the  seal  society  looked  around  angrily. 

Generally  four  calls  are  necessary  to  convene  the  people,  but  the 
seals  do  not  allow  them  to  tarry.  After  they  had  called  the  first 
time,  they  went  around  apparently  offended  by  the  tardiness  of  the 
people.  They  carried  a long  rope,  entered  the  houses,  and  the  fool 
dancers  pushed  the  people  from  their  seats  with  their  lances.  The 
bear  dancers  scratched  them  and  drove  them  towards  the  rope,  which 
was  stretched  tightly.  Then  the  members  of  the  society  who  held  the 
rope  pushed  the  people  out  of  the  house  on  to  the  street.  After  hav- 
ing arrived  on  the  street,  they  drove  them  before  the  rope  until  they 
reached  the  dancing  house.  Thus  it  did  not  take  very  long  to  bring 
the  people  together.  About  3 o’clock  in  the  afternoon  they  began  their 
second  call,  and  at  4.30  p.  m.  all  the  people  were  assembled.  As  the 
host  belonged  to  the  Kwakiutl  tribe,  the  Koskimo  and  the  Ha/q’oaqtoq 


550 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


had  the  seat  of  honor  in  the  rear  of  the  house  where  the  seal  society 
is  generally  sitting.  The  Kwakiutl  sat  to  the  right  and  to  the  left  of 
the  door.  The  members  of  the  seal  society  and  the  relatives  of  the 
host  were  standing  near  the  door  tending  the  fire  and  preparing  the 
food.  As  soon  as  all  the  people  were  assembled,  the  seals  placed  two 
logs  in  front  of  the  door,  over  which  they  laid  a plank.  The  ha/mats’a 
and  two  fool  dancers  took  their  seats  on  the  plank,  thus  preventing 
any  of  the  guests  from  leaving  the  house. 

About  this  time  Ho'LElite,  the  speaker  of  the  -Oue'tEla,  arose  and 
asked  his  debtors  to  pay  his  debts.1  He  said:  “low  I beg  yon  to 
please  me  and  to  pay  my  humble  debts;2  then  calling  the  names  of 
those  whose  debts  were  due.  One  of  the  latter  arose  and  promised 
that  all  would  pay  on  the  following  day.  These  debts  had  been  con- 
tracted a year  before  the  feast,  and  therefore  became  due  by  this  time. 

Ho'LElite  continued  speaking.  In  behalf  of  the  seal  society  he 
thanked  the  people  that  they  had  come  to  the  feast.  He  called  up  four 
men  to  distribute  eagle  down.  Then  they  took  up  the  down,  which  was 
placed  in  four  dishes,  and  put  it  on  to  the  heads  of  the  assembly.  Now 
he  asked  the  people  to  sing  and  to  beat  time,  and  four  young  men 
distributed  the  batons.  The  seals  continued  preparing  the  food,  while 
the  Koskimo  and  Na/q’oaqtoq  sang  two  songs  each.  The  bears  had 
their  paws  on;  the  fools  carried  their  lances  while  they  were  prepar- 
ing the  food.  One  of  the  bear  dancers  was  being  led  by  a rope  which 
was  held  by  one  of  the  fool  dancers,  in  order  to  prevent  him  from  get- 
ting excited  and  attacking  the  people.  During  their  songs  one  of  the 
Na/q’oaqtdq  women  danced  in  the  rear  of  the  house. 

After  they  had  finished  singing,  the  speaker  of  the  Na/q’oaqtoq  arose 
and  said:  “The  Kwakiutl  do  not  look  properly  after  the  winter  cere- 
monial. But  now  they  shall  see  that  we  know  well  how  to  arrange  our 
ceremonials.”  He  took  off  his  head  ring,  called  liis  cousin  Qa/snomalas, 
and  gave  him  the  ring,  asking  him  to  go  around  the  fire  and  to  look 
for  someone  who  had  no  red  cedar  bark  ornaments.  Qa/snomalas  took 
the  ring  and  went  around  the  fire,  turned  once  in  front  of  the  door,  and 
continued  his  way  to  the  rear  of  the  house.  There  he  put  the  ring 
around  the  neck  of  his  cousin,  NE'msqEmk-ala,  who  had  just  arrived 
from  the  Na/q’oaqtoq  village,  and  who  therefore  had  not  taken  partin  the 
opening  ceremonies,  when  everybody  received  his  ornaments  of  bark. 
As  soon  as  he  had  received  the  neck  ring,  he  arose  and  danced  as 

^a'Xts’&liL  qoqu;na  = standing  in  the  middle  of  the  house  asking  for  payment  of 
debts. 

2E/smaeLEn  hawa/x’aloL  qa  s wax’e'daos  g-a/xsn  la'xEn  g’a/g'imaoL  MaamXuit.ai' 
Xot  now  I beg  you  for  to  please  you  me  to  my  small  debts  HaamXuit 
qaoX  Q’eq’anqula  yumisoX  Tsa/xisaq’a  yu'Em  xaawisoX  La/leLk,’atstodala/x  yuEmisa 
and  Q’eq’anqula  and  be  Tsa'xisaq’a  be  also  La'leLk’’atstodalax  be 

a/dex  Le'Ltsis.  He'iEm  wa'xe. 
dear  Le'Ltsis.  That  is  all. 

In  modern  speech  the  first  word  would  be  K-’e/smaeLEn, 


THE  KWAKIUTL  INDIANS. 


551 


ha'mshamtsEs.  After  he  had  danced,  his  father,  T’e't’esumxdsana,  arose 
and  promised  to  distribute  blankets.  NE'msqEmk-ala’s  wife  asked  her 
speaker,  Qoe'neqoiL,  to  speak  for  her.  He  held  a silver  bracelet  in  his 
hands  and  promised  in  her  behalf  that  she  would  give  to  her  husband 
four  sticks  of  silver  bracelets,  ten  bracelets  to  a stick,  and  button 
blankets  as  many  as  were  needed  for  a festival  which  he  was  going 
to  give.  Then  Qa/snomalas  took  the  blanket  and  T’e't’esumx-tsana  took 
the  bracelet.  The  latter  spoke:  “ This  is  my  way.  No  other  clan  can 
equal  mine;  no  chief  can  equal  me.  I always  distribute  all  my  prop- 
erty.’7 Then  Qa/snomalas  interrupted  him  and  said : “ Don’t  say  too 
much ! You  have  made  me  your  speaker  and  taught  me  not  to  mind  others 
in  what  I am  doing.  You  have  made  me  happy.  Therefore  I shall 
sing.”  Then  he  sang  two  songs  which  expressed  his  happiness.  After 
his  songs  he  said:  “That  is  enough.  I sing  two  songs  for  what  you 
have  promised  me  to-day.  I shall  sing  four  songs  when  you  will 
promise  me  a copper.”  He  thanked  his  uncle’s  wife  for  considering  the 
noble  position  of  her  husband  aud  helping  him  to  keep  that  position.  He 
announced  that  he  would  distribute  the  bracelets  and  button  blankets 
among  the  four  tribes  of  the  Kwakiutl.  “ Ya  Koskimo,”  he  said,  “fol- 
low this  way,  follow  my  way.  Don’t  lock  up  your  boxes;  keep  them 
open  as  I do.  Thus  I have  become  higher  than  any  other  man.  I 
always  put  my  property  into  a box  with  red-hot  bottom.1  Let  both  our 
tribes  strive  against  the  Kwakiutl,  so  that  we  may  take  off  two  linger 
widths  of  their  highness.”2 

By  this  time  the  salmon  was  done  and  was  put  into  long  flat  dishes 
and  fish  oil  poured  upon  it.  The  fool  dancers  and  bear  dancers 
distributed  the  dishes  and  the  wooden  spoons,  every  three  or  four 
people  receiving  one  dish.  The  Koskimo  and  Na/q’oaqtoq  were  given 
first,  the  Kwakiutl  last.  Etiquette  demands  that  the  guests  eat  as 
quickly  as  possible.  Whenever  the  bear  dancers  and  fool  dancers  saw 
a person  eating  slowly,  they  went  up  to  him  and  pushed  and  scratched 
him.  During  all  this  time  a huge  fire  was  being  kept  up  in  the  middle 
of  the  house  and  grease  was  poured  into  it.  The  flames  leaped  up  to 
the  roof  of  the  house,  which  every  now  and  then  caught  fire,  so  that  a 
man  had  to  be  sent  up  to  extinguish  it.  It  is  considered  improper  for 
the  guests  to  mind  such  fires,  aud  apparently  no  notice  is  taken  of 
them  until  the  host  deems  it  proper  to  send  up  to  the  roof.  He  some- 
times disregards  the  lire  until  it  has  attained  quite  considerable  dimen- 
sions. 

As  soon  as  the  people  had  finished  eating,  the  chief  fool  dancer,  who 
is  the  speaker  of  the  ha/mats’a,  tried  to  deliver  a speech.  But  it  is 

xThat  means,  as  water  is  scattered  by  being  poured  upon  red-hot  stones,  thus  his 
blankets  are  scattered  among  the  tribes  as  soon  as  they  fall  upon  the  red-hot  bottom 
of  his  box. 

2 The  Kwakiutl  are  counted  as  high  as  four  finger  widths,  as  they  consist  of  four 
tribes.  The  other  tribes  are  each  oulv  one  finger  width  high.  Of  these,  the  Na'q’oaqtdq 
and  Koskimo  wanted  to  have  each  one,  in  order  to  become  as  high  as  the  Kwakiutl. 


552 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


customary  to  interrupt  him.  Whenever  he  made  an  attempt  to  speak, 
the  people  raised  a great  din,  which  compelled  him  to  stop.  He  pre- 
tended to  get  angry  and  threw  stones  at  the  people.  At  this  time  he 
ordered  the  members  of  the  seal  society,  of  which  he  himself  is  a mem- 
ber, not  to  eat  of  the  salmon,  as  a number  of  fish  were  set  aside  for 
them.  When  a number  of  fool  dancers  and  bears  began  to  eat,  not- 
withstanding his  commands,  some  of  the  other  members  of  the  seal 
society  took  the  food  away  and  pulled  them  back.  After  all  the  guests 
had  eaten,  a large  dish  was  placed  on  the  plank  which  was  laid  in  front 
of  the  door.  The  ha/mats’a  ate  out  of  the  dish,  while  the  other  mem- 
bers of  the  seal  society  ate  out  of  large  kettles  which  were  standing 
near  the  fire.  Then  all  the  people  laughed  at  them  because  they  ate 
after  the  others  had  finished,  although  they  are  the  highest  in  rank 
among  the  whole  tribe  and  ordinarily  receive  their  share  first.  When 
the  people  were  teasing  them,  the  friends  of  some  of  the  members  of 
the  seal  society  stepped  before  them,  spreading  their  blankets,  thus 
hiding  them  from  view,  so  that  the  people  should  not  see  them  eating. 

How  Hb'LElite  arose  again  and  spoke:  “ This  is  the  way  of*  my  chief. 
He  gives  a large  feast  on  account  of  the  nobility  of  my  tribe.”  He 
asked  the  people  to  take  the  batons  and  to  sing.  The  Ha/q’oaqtoq 
commenced  and  sang  two  songs.  The  Koskimo  followed  with  four 
songs.  In  the  fourth  song  the  word  u raven”  occurred.  As  soon  as  it 
was  heard,  one  of  the  ha/mats’as  of  the  Koskimo  became  excited.  He 
jumped  up,  crying  “haj),  hap,  hap,”  trembling  all  over  his  body.  His 
attendants  rushed  up  to  him,  the  people  beat  time  violently,  and  the 
drummer  beat  the  drum,  while  the  ha'mats’a  tried  to  rush  up  to  the 
people  and  to  bite  them.  But  he  was  held  back  by  his  six  attendants. 
Slowly  he  moved  to  the  rear  of  the  house,  where  he  went  once  to  the 
left,  once  to  the  right,  then  continuing  his  course  around  the  fire. 
When  he  came  to  the  door,  he  went  out,  followed  by  his  attendants. 
Then  the  Koskimo  called  four  times,  “ yu !” 

While  this  was  going  on,  HEg-e'ts’e,  speaker  of  the  Koskimo,  arose, 
and  as  soon  as  quiet  was  restored,  he  spoke:  “Take  care,  my  tribe; 
the  supernatural  power  has  entered  our  lia/mats’a  Hau'aqis;”  and  turn- 
ing to  the  Kwakiutl,  he  said:  u Be  ready,  friends,  you  on  both  sides  of 
the  house;  we  will  try  to  tame  our  ha/mats’a.”  This  was  said  at  the 
moment  when  the  ha/mats’a  ran  out  of  the  door.  His  attendants 
returned  after  an  absence  of  about  ten  minutes. 

How  a number  of  large  carved  dishes  were  brought  in,  one  repre- 
senting a bear,  the  other  a sea  lion,  and  others  other  animals.  They 
were  placed  in  a row  in  front  of  the  fire.  Then  Ho'LElite  arose  again 
and  with  him  Ama/xddayu,  an  old  speaker  of  the  Gue'tEla.  Ho'LElite 
spoke,  calling  the  host’s  ba'xus  name,  HEmo'gwis,  and  pointing  to  the 
bear  dish  said:  u This  is  HEmo'gwis’s  dish,  which  was  used  by  the  first 
HEino'gwis  when  he  gave  a grease  feast.  He  used  a dish  like  this  one. 
He  also  used  this  second  bear  dish  and  a wolf  dish  and  a killer  whale 


THE  KWAKIUTL  INDIANS. 


553 


disk.”  Then  he  called  up  No'Lq’auLEla,  the  father  of  XEmo'gwis. 
“ Speak  yourself  regarding  your  own  dishes.”  Xo'Lq’auLEla  called  up 
his  mother,  Mo'sqEmXLala.  He  asked  her  to  give  to  his  sou  some  of 
her  father’s  dishes.  Then  she  pointed  out  a bear  dish  and  a dish  repre- 
senting the  sea  lion’s  stomach.  He  continued,  asking  her  for  some  of 
her  mother’s  dishes.  Then  she  pointed  to  a killer  whale  dish  and  to  a 
wolf  dish.  He  spoke:  “ Friends,  my  mother  has  some  more  carvings, 
but  I do  not  want  to  give  them  to  my  son  as  yet.  First  I want  to  give 
another  feast;  then  I shall  give  them  to  my  successor.  That  is  all.” 
Then  Ho'LElite  spoke  again:  “ Did  you  hear  what  my  chief  said? 
He  said  that  he  wants  to  use  the  dishes  before  giving  them  to  his  son. 
That  means  he  is  going  to  give  another  feast.  Hu,  hu,  hu,  hu,  hu,” 
and  all  the  people  repeated  this  cry.  The  fool  dancers  and  bear  dancers 
took  the  dishes  and  carried  them  to  the  guests.  Ho'LElite  called: 
“This  is  the  dish  of  the  troublesome  ones.1  This  is  the  dish  of  Ts’e- 
qolag-ilis.2  This  is  the  dish  of  the  cormorants.3  This  is  the  dish  of  the 
rock  cods  and  bears.4  This  is  the  dish  of  the  whales  for  whom  one 
waits.5  This  is  the  dish  of  the  gulls.6  This  is  the  dish  of  the  pigs.”7 
After  all  the  large  dishes  had  been  distributed,  the  small  dishes  were 
carried  to  the  women  and  to  the  young  people.  While  all  were  eating, 
Ho'LElite  remained  standing  and  asked  the  Kwakiutl  to  sing.  They 
assembled  in  the  door,  and  after  having  placed  a plank  on  two  logs 
they  sang,  standing,  the  feast  song  of  the  winter  dance.  As  XEmog'wis 
had  no  daughter,  his  grandmother  and  his  father  danced,  accompanying 
the  song. 

After  they  had  finished  singing,  Ho'LElite  spoke:  “ Ya,  friends,  this 
is  the  way  of  my  chief.  He  does  so  not  only  this  time  to  show  his  great- 
ness, but  he  always  acts  this  way.  Eat  and  swallow  what  is  given  to 
you  as  well  as  you  can;  eat  it  all.  Bring  our  food  and  we  will  feed  the 
chiefs.”  Then  the  members  of  the  seal  society  brought  a barrel  filled 
with  berries  and  placed  it  in  front  of  Ho'LElite.  While  carrying  it  they 
cried,  “u,  u,  u,  u,  u,”  indicating  that  the  barrel  was  exceedingly  heavy. 
Then  they  brought  a number  of  large  wooden  ladles.  Ho'LElite  dipped 
berries  out  of  the  barrel,  and  said,  “Now  sip,  XE'msqEmk'ala,”8  and  the 
ladle  was  taken  to  him.  He  drank,  and  when  he  was  unable  to  empty 
it  he  poured  the  rest  of  the  food  into  his  dish.  Thus  the  ladles  were 
carried  to  all  the  chiefs.  After  all  had  received  their  share,  Ho'LElite 
spoke : u Oh,  tribes ! I do  not  do  so  once  only;  I often  give  feasts  of  this 
kind.  That  is  why  we  are  called  Kwakiutl — that  means  the  smoke  of 

1 W u/n’a  wunx -Is,  the  society  of  the  Na/q7oaqt6q,  which  embraces  the  secret  socie- 
ties ha/mats’a,  hear,  and  ma'maq’a,  and  corresponds  to  the  seals  of  the  Kwakiutl. 

2The  wolves  and  lia/mats’a  of  the  Koskimo. 

3L’o/L,Epana,  chiefs  of  the  Na/q7oaqt6q. 

4T,o/t’opa,  na/ne,  chiefs  of  the  Koskimo. 

fiEsEla/liLtsawe  qoayi'm,  the  young  men  of  the  Na/q'oaqtoq. 

6TsVts’eg*inaqa,  elder  hoys  of  the  Na/q’oaqtdq,  who  fetch  fuel,  etc. 

7Gue/gusoa,  eaters,  middle-aged  men  of  the  Koskimo. 

e La'ams  Xu'mt’eLax  NE'msqEmk-ala. 


554 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


the  world.  All  the  tribes  try  to  imitate  ns,  but  I have  not  seen  anyone 
who  has  been  able  to  do  as  we  do.”  Then  all  the  people  said,  “ True, 
true!”  Next  NEmo'gwis’s  father,  No'Lq’auLEla,  spoke:  u Look  at  me; 
look  at  my  son ! You  shall  not  call  me  chief  on  account  of  what  I am 
doing,  but  call  my  son  chief,  because  I am  doing  it  for  his  sake.  I am 
working  for  him;  I want  to  make  him  heavier  all  the  time.”1  Then  he 
asked  one  of  the  Na/q’oaqtoq  chiefs,  who  had  expressed  his  intention  to 
leave,  u Is  it  true  that  you  are  going  to  leave?  If  you  intend  to  do  so, 
wait  four  days  longer,  because  my  brother  is  going  to  give  away 
blankets  within  a few  days,”  and  he  continued : u Ma'maleleqala ! my 
son  is  ready  for  you.  He  intends  to  give  blankets  to  you.  My  brother- 
in-law  Kule'iu  is  also  ready  for  you,  and  Aa/listalitsa  intends  to  give 
blankets  to  you.”  Then  the  Na/q’oaqtoq,  who  intended  to  leave,  arose 
and  said : u I wish  there  were  two  men  like  you  in  Tsa/xis  (Fort  Bupert). 
You  are  the  first  who  treated  me  well;  you  who  asked  me  to  stay  here.” 
November  20. — In  the  afternoon  the  Koskimo  sent  their  messengers  to 
invite  to  a feast.  About  6 p.  m.  the  people  had  assembled  in  their 
dancing  house.  First  a Na/q?oaqtoq  distributed  blankets  among  the  peo- 
ple, and  then  one  of  their  number  arose,  holding  a copper  in  his  hands. 
He  spoke  about  its  value,  and  said  that  he  was  going  to  buy  it.  Sud- 
denly whistles  and  noise  were  heard  outside,  and  the  Koskimo  ha/mats’a, 
who  had  disappeared  the  preceding  night,  entered,  accompanied  by  his 
attendants.  He  danced  around  the  fire  once  and  disappeared  again. 
Then  the  speaker  of  the  Koskimo  asked  the  Kwakiutl  and  the  Na/q’oaqtoq 
to  sin  g.  The  Kwakiutl  sang  their  two  songs.  The  N a/q’oaqtoq  followed , 
but  when  in  their  first  song  they  got  out  of  time  Ya'qois,  the  principal 
hamats’a  of  the  Kwakiutl,  got  excited.  He  jumped  up,  crying  u hap, 
hap,  hap.”  His  nine  attendants  rushed  up  to  him,  and  while  he  was 
trembling  violently  they  moved  once  to  the  right,  once  to  the  left  behind 
the  fire,  then  around  the  fire,  and  when  they  reached  the  door,  they 
went  out.  During  all  this  time  whistles  were  heard  proceeding  from 
the  circle  of  the  attendants.  While  the  Koskimo  chief  was  continuing 
his  speech  the  whistles  and  the  howling  of  the  ha/mats’a  was  heard  on 
the  street.  Soon  he  returned,  dressed  only  with  a dancing  apron,  two 
rings  of  cedar  bark  worn  crosswise  over  his  shoulders,  and  a heavy  ring 
of  red  cedar  bark  worn  on  his  head.  The  first  circuit  he  danced  in  a 
squatting  posture.  When  opposite  the  door,  he  was  for  a short  time 
carried  by  his  attendants.  In  the  rear  of  the  house  he  turned  once. 
The  second  circuit  he  danced  standing,  and  the  songs  which  were  sung 
during  this  time  were  in  a five-part  measure.  His  feet  were  put  down 
with  the  beats  of  the  batons.  The  knees  were  lifted  high  up  for  each 
step,  while  the  trunk  moved  downward  at  the  same  time.  After  he 
had  gone  around  the  fire  twice,  his  father  dressed  him  with  a fine  Ohilcat 
blanket  and  an  apron  and  leggins  of  the  same  make,  with  which  he 
made  two  more  circuits  around  the  fire.  Then  he  disappeared,  utterly 


That  means  he  wants  to  make  his  ornaments  of  red  cedar  hark  more  valuable. 


THE  KWAKIUTL  INDIANS. 


555 


exhausted,  in  one  of  the  small  bedrooms.  During  the  dance  he  had 
apparently  become  quieter  and  quieter  as  time  went  on.  Then  Ya/qois’s 
father  arose  and  distributed  a few  blankets  which  had  been  fetched 
during  the  dance  of  the  ha/mats’a.  They  were  given  as  an  earnest  of 
the  blankets  with  which  he  promised  to  pay  for  the  ecstasy  of  his  son. 

Now  at  last  the  Koskimo  began  to  prepare  the  feast.  While  they 
were  engaged  in  this  work,  one  of  them  shouted,  all  of  a sudden: 
“Listen!  What  is  going  on  outside?”  Everyone  was  quiet,  and  sud- 
denly the  roof  of  the  house  shook  violently.  At  the  same  time  a boy 
was  seen  in  the  entrance  of  the  house  being  wafted  up  and  down.  He 
hung  perfectly  limp  while  he  was  flying  to  and  fro.  Then  the  people 
pressed  up  to  him  and  placed  themselves  so  that  the  boy  was  in  the 
dark.  Suddenly  he  had  disappeared.  After  a short  time  his  bloody 
clothing  and  his  head  ring  of  red  cedar  bark  fell  down  through  the 
roof,  and'  a short  time  after  the  bloody  clothing  of  a girl  also  fell  down. 
Then  the  speaker  of  the  Koskimo  said:  “Three  of  our  youths  have 
been  taken  away  by  the  spirits.  Now  our  winter  ceremonial  shall  be- 
gin.” Great  excitement  prevailed,  as  this  was  quite  unexpected  to  the 
other  tribes.  Then  food  was  distributed,  during  which  time  speeches 
of  welcome  and  of  thanks  were  made.  This  was  the  end  of  the  festival. 

November  21. — Early  in  the  morning  the  old  ha/mats’a  of  the  Kos- 
kimo, with  three  attendants,  was  seen  on  the  beach  pursuing  a number 
of  women.  It  appears  that  they  had  taken  some  of  the  food  that  was 
intended  for  him,  which  had  excited  his  wrath.  He  ran  after  them, 
trying  to  bite  them,  and  they  escaped  into  the  water,  which  the 
ha/mats’a  is  supposed  to  dread.  There  he  kept  them  for  a long  time; 
whenever  they  made  an  attempt  to  escape,  he  tried  to  bite  them  and 
drove  them  back. 

In  the  evening  the  father  of  Ya/qois  gave  the  promised  feast,  in 
which  he  was  going  to  pay  for  the  ecstasy  of  his  son.  The  blankets 
which  he  was  about  to  distribute  actually  belonged  to  his  mother* 
When  the  people  were  assembled  in  the  dancing  house  of  the  Kwakiutl, 
she  came  in  first,  crying  “hu,  hu,  hu,”  which  indicates  the  weight  of 
the  blankets  which  she  was  going  to  distribute.  She  was  followed  by 
the  father  of  Ya/qois,  who  entered  singing  his  secret  song.1  He  was 
followed  by  his  son  Ya'qois,  the  ha/mats’a,  and  by  his  sister  La'stosalas, 
who  is  the  k-knqalaLala  of  the  former.  Then  the  members  of  his  clan 
followed,  carrying  the  blankets  which  he  was  going  to  distribute. 

The  speaker  of  the  clan  Sl'sinLae  asose  and  said:  “Look  at  me, 
friends,  look  at  me  well.  This  is  my  way  of  acting  for  my  children.” 
Then  he  turned  to  the  Kwakiutl  and  said:  “Yes,  my  friends,  here  I am 
again.  I can  not  let  you  rest,  for  we  must  try  to  pacify  our  great 
friend.2  Now  arise ! and  take  the  handles  of  your  batons,”  and  turning 
to  the  Na/q’oaqtoq  and  Koskimo,  he  asked  them  to  help  pacify  the 


iHe'lig-a  ye'laqula. 

2Meaning  the  ha/mats’a  Ya/qols,  who  became  excited  the  preceding  day. 


556 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


ha/mats’a.  He  said : uWe  have  tried  to  tame  him,  but  we  can  not  do  it. 
I am  too  insignificant  as  compared  to  him.”  “True,  true,”  said  all  the 
people.  Then  they  began  to  sing: 

I  have  been  all  around  the  world  eating  with  BaxbakualanuXsi  wa 
I give  nobody  time  to  escape  me,  going  around  in  the  house  with  BaxbakualanuX- 

sl'wae. 

You  BaxbakualanuXsI'wae,  center  of  the  earth,  you  were  crying  hap  for  me; 

You  BaxbakualanuXsi' wae,  post  of  the  world,  you  were  crying  hap  for  me.1 

Ya/qois  and  his  k-UnqalaLala  danced,  accompanying  the  song.  First 
two  songs  were  sung  for  the  ha/mats7a,  then  two  for  the  kd'nqalaLala, 
one  of  which  was  as  follows : 

I keep  down  your  wrath,  Great,  real  Cannibal ! 

I keep  down  your  whistles,  Great,  real  Cannibal! 

I keep  down  your  voraciousness,  Great,  real  Cannibal! 

You  are  always  looking  for  food,  Great,  real  Cannibal! 

You  are  always  looking  for  heads,  Great,  real  Cannibal! 

You  are  always  devouring  property,  Great,  real  Cannibal!2 

Then  the  speaker  of  the  Koskimo  arose  and  said:  “Ya,  Koskimo! 
Ya,  Kwakiutl,  Ya,  Na'q’oaqtoq.  This  here  is  my  ha/mats’a.3  I sold  a 
copper  for  1,000  blankets  and  he  swallowed  it.4  I sold  a copper  for 
1,200  blankets  and  he  swallowed  it.  At  another  time  I bought  a cop- 
per for  1,200  blankets  and  threw  it  into  the  fire  for  the  sake  of  liis 
name.  Now  look  out ! I may  do  the  same  again  this  year.  I want  to 
make  him  as  heavy  as  I can  on  my  part.  His  father  is  doing  the  same 
for  him.”  Then  Ya/qois7s  father  arose  and  the  people  shouted : “ Speak, 
Chief  5 speak  yourself;  not  through  a speaker.”5  Then  he  said : “Friends, 
look  at  me;  look  at  me  well,  because  I want  to  tell  you  who  I am! 
This  is  my  way  of  doing.  Five  years  ago  you  heard  much  about  what 
I was  doing.  Then  I gave  my  ha'mats’a  first  to  Ya/qois.  Ten  times  I 
gave  blankets  to  the  Koskimo.  I want  you  to  come  to  my  house  ten 
times  this  year,  so  that  I may  reach  to  the  beams  of  my  house.  This  is 
not  my  way  of  doing.  Chief  NEqa/penk*7Em,  my  father,6  and  A'wate 
taught  me  this  way  and  I followed  them.  My  name  is  rja/qoag*ila  on 
.account  of  the  copper  which  I had  from  my  grandfather.  My  name  is 
Qo'moqoe  on  account  of  the  ermine  and  abalone  shells  which  I have 
from  my  grandfather.  Do  you  want  to  know  how  I obtained  my 
ha/mats’a?  I opened  my  box  and  took  out  my  dances,  which  I received 
from  my  brother-in-law,  Q’uli's.7  Therefore  I am  not  ashamed  of  my 
ha/mats’a.  Now  I ask  you  one  thing — do  not  call  me  GueTelabidd.8  It 

1 Appendix,  page  688. 

2 Appendix,  page  693. 

3 He  had  given  his  ha/mats’a  to  Ya/qois  at  a former  time. 

4 That  means  he  gave  it  away. 

6Wai,  ya/q'eg'aLax,  g'T'qame,  xa/mastala. 

6 He  merely  called  him  father. 

7 Or  Nu'xnemls. 

8 Son  of  northern  tribe,  because  his  mother  belonged  to  one  of  the  northern  tribes 
of  the  coast. 


THE  KWAKIUTL  INDIANS. 


557 


is  well  when  I live  like  one  of  you,  and  it  is  well  if  I act  like  one  of  the 
northern  tribe,  because  my  mother  was  of  high  blood  among  her  tribe. 
I do  not  give  this  festival  that  you  may  call  me  a chief.  I give  it  in 
honor  of  these  two  who  are  dancing  here,  that  the  words  of  their  ene- 
mies may  not  harm  them.  For  this  purpose  I build  an  armor  of  wealth 
around  them.”  Then  his  speaker  continued:  “You  have  finished.  I 
am  proud  of  you.  Yours  is  the  right  way  of  speaking.  There  is 
nothing  wrong  in  what  you  said.”  Then  he  turned  to  the  Na/q’oaqtoq, 
addressing  their  chief,  K-ak-xa/laso : “Did  you  hear  what  my  chief 
said?  He  did  not  speak  against  you;  he  did  not  speak  against  the 
Koskimo,  and  he  did  not  speak  against  us.  He  shall  be  the  speaker 
of  the  clan  Se'nLEin.1  Do  not  speak  behind  our  backs,  calling  us 
sons  of  northern  tribes.2  Our  lia/mats’a  is  making  us  tired.  Now 
take  care ! Look  after  your  batons  and  speak  carefully,  and  see  that 
food  is  given  in  the  proper  way  to  our  great  friend.  He  has  many 
fathers.  If  one  of  them  has  not  enough  property  at  hand,  another 
one  is  ready  to  pay  for  his  ecstasies.  Ho'LElite ! Oome  and  do  what 
you  like  with  these  blankets  here.  They  fell  from  the  red  cedar  bark 
of  Ya'qois.” 

HoYElite  arose  and  with  him  ^ma/xudayu.  He  praised  No'Lq’au- 
LEla,  the  father  of  Ya/qois,  and  said : “ O Na/q’oaqtdq.  This  is  the  first 
time  that  such  a thing  is  done.  His  property  runs  from  him  in  streams, 
and  if  one  of  his  rivals  should  stand  in  the  way  he  would  be  drowned 
by  it.” 

Then  he  began  to  distribute  the  blankets,  beginning  with  the  ma'- 
maq’a  of  the  Na/q’oaqtoq.  Sometimes  he  did  not  know  the  proper 
order  and  rank  of  the  different  names.  Then  he  inquired  of  the  people, 
and  they  called  to  him,  trying  to  help  him.  Some  even  threw  stones  at 
him  in  order  to  attract  his  attention.  After  the  first  pile  of  blankets 
had  been  distributed  among  the  Na/q’oaqtdq,  he  took  up  the  second 
pile  and  distributed  it  among  the  Koskimo,  beginning  with  their  ha/- 
mats’a.  After  he  had  distributed  all,  he  said  once  more:  “Be  careful; 
the  supernatural  power  never  leaves  our  ha/mats’a;  if  you  should  make 
a mistake,  he  will  become  excited  again.”  After  his  speech,  the  Na/q7- 
oaqtoq  and  Koskimo  sang  a song  on  account  of  the  distribution  of 
blankets,  and  one  of  the  Koskimo  said:  “I  begin  to  be  afraid  of  the 
manner  in  which  we  are  being  treated  here.  The  property  which  is  being 
distributed  here  reaches  up  to  my  throat.  I will  not  blame  NoYq’auLEla. 
My  grandson  is  a ha'mats’a,  and  neither  he  has  received  a blanket  nor 
have  I received  one.”  It  so  happened  that  his  name  had  been  forgotten 
in  the  distribution.  Then  No'Lq’auLEla  took  the  button  blanket  which 
his  mother  was  wearing  and  gave  it  to  the  speaker,  who  thanked  him  for 
it.  Next  a Na/q’oaqtoq  arose  and  said : “No  clan  has  ever  been  known 
to  do  what  you  have  done  to-day,  and  I am  afraid  of  you.  Kwakiutl, 

1 Or  Sl'sinLae. 

2 His  father  was  a He'iltsuq. 


558 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


you  had  a chief  before  this  time,  but  now  you  have  no  chief.”1  Upon 
this  all  the  Kwakiutl  said:  “ True,  true;  we  can  not  deny  it.”2 

After  these  speeches  were  finished,  food,  which  consisted  of  crab 
apples  mixed  with  grease,  was  distributed  among  the  guests.3  When 
the  people  had  almost  finished  eating,  one  of  the  Na/q7oaqtoq  gave  a 
button  blanket  to  his  son-in-law  as  a promise  of  a great  number  of 
blankets  which  he  was  to  give  him  at  a later  time.  Then  the  recipient 
thanked  his  father-in-law.  He  took  his  staff,  which  he  held  horizontally 
on  his  shoulder,  and  which  he  carried  as  though  he  was  loaded  down 
with  the  gifts  of  his  father-in-law.  Slowly  he  went  around  the  fire 
singing  his  secret  song — a t7o7X7uit  song,  as  he  was  a member  of  that 
society.  He  turned  when  he  came  to  the  front  of  the  house  and  when 
he  reached  the  rear  of  the  house.  While  he  was  still  singing,  all  the 
Xa'q’oaqtoq  singers  assembled  near  the  door.  They  held  a plank  to 
beat  time  on  and  began  to  sing.  The  man  danced  while  they  sang. 
After  the  second  song,  he  put  on  the  button  blanket  and  danced, 
accompanied  by  the  third  song.  During  the  fourth  song  he  took  up  some 
burning  coals  and  laid  them  before  one  of  the  men.  This  was  to  indi- 
cate that  he  had  power  over  the  fire.  Then  he  took  another  piece  of 
burning  coal  between  his  hands,  rubbed  it,  and,  swinging  his  closed 
hands  forward  and  backward,  he  all  of  a sudden  threw  them  forward, 
and  as  they  parted  the  coals  had  disappeared.  He  had  transformed 
the  coal  into  a supernatural  object  which  was  to  fly  around  the  whole 
world  to  see  if  there  was  a chief  greater  than  his  father-in-law.  In 
four  days  he  said  it  should  return  and  bring  him  answer.  Then  he 
announced  that  he  would  keep  the  blanket  which  he  had  received, 
and  that  he  would  not  give  it  away,  and  the  people  replied:  “Do  as 
you  say.” 

In  the  evening  the  Xa/q’oaqtoq  held  their  kue7xalaku.  When  all  the 
people  had  assembled,  the  speaker  thanked  them  that  they  had  come, 
and  turning  to  his  own  tribe,  he  said:  “Keep  your  batons  in  readi- 
ness!” As  soon  as  he  had  said  so,  the  door  opened  and  two  men  came 
in  wearing  large  blankets  and  imitating  the  motions  of  cormorants. 
They  entered  by  twos  and  threes  and  gathered  in  the  rear  of  the  house, 
standing  in  a row.  When  all  had  come  in,  the  speaker  asked  the  first 
of  the  birds:  “What  is  in  your  stomach ? ” He  replied:  “ Kwakiutl.7’ 
Then  he  asked  the  next  one : “What  is  in  your  stomach ? ” He  replied : 
“Four  tribes,77  meaning  the  four  tribes  of  the  Kwakiutl.  Turning  to 
the  third  one,  he  asked:  “What  is  in  your  stomach?”  He  replied: 
“The  Kwakiutl,  the  Koskimo,  and  all  other  tribes.”  When  he  asked 
the  next  one,  he  acted  as  though  he  was  vomiting.  This  means  that  he 
was  vomiting  the  property  that  was  to  be  distributed  at  night.  The 
fifth  one  said  to  the  speaker  that  he  had  gone  from  tribe  to  tribe  through 

1 Meaning  that  No'Lq’auLEla,  by  his  numerous  distributions  of  blankets,  had  become 
greater  than  all  the  other  chiefs. 

2 K,JesnoX  he'Xoa. 

3 The  crab  apples  are  picked  while  they  are  unripe,  boiled,  and  kept  in  water. 


THE  KWAKIUTL  INDIANS. 


559 


the  whole  world  swallowing  the  tribes.1  After  the  speaker  had  asked 
every  one  in  this  manner,  he  thanked  the  cormorants  for  coming,  and 
said:  “I  am  glad  that  you  are  not  light  cormorants,  but  that  TTou  are 
heavy  with  property.” 

Another  signal  was  given  to  the  singers  to  beat  time,  and  in  came 
the  killer  whales.  They  also  entered  by  twos  and  threes.  They  had 
fins  made  of  wood  tied  to  their  backs,  and  came  in  blowing.  They 
moved  in  a bent  position,  so  that  the  fins  stood  upright.  Blowing,  they 
went  around  the  fire,  where  they  remained  standing  next  to  the  cor- 
morants. Now  the  speaker  said:  “Do  you  know  why  we  open  our 
ceremonial  with  the  entrance  of  the  cormorants  and  of  the  killer 
whales?  In  olden  times,  when  Kuekuaxa/oe  traveled  all  over  the  world 
in  his  canoe  Da'daLa,  he  came  to  Goa/LgoaL’a/lalis,  where  the  village 
of  the  Na/q’oaqtoq  is  standing.  There  the  Na/q’oaqtoq  and  the  killer 
whales  were  living  at  that  time.  Kuekuaxa/oe  left  them  and  went  to 
Ya'xoestEm.  After  he  had  left,  difficulties  arose  between  the  Na/q?oaq- 
toq  and  the  killer  whales.  When  Kuekuaxa/oe  heard  of  this,  he  trans- 
formed part  of  the  whales  into  birds,  others  into  sand.  For  this  reason 
the  sand  of  the  beach  Goa'LgoaL’a/lalis  is  sounding  when  it  is  stepped 
upon.” 

After  he  had  finished  his  speech,  the  women  came  in,  dressed  as  birds. 
They  danced  around  the  fire  and  stopped  next  to  the  cormorants  and 
killer  whales.  Then  the  speaker  continued : “Do  you  know  what  this 
means?  The  birds  were  living  at  Ya'xoestEm  when  Kuekuaxa/oe 
arrived  there.  They  were  living  in  a cave.  Kuekuaxa/oe  painted  them 
different  colors.  The  crows  and  the  cormorants  wanted  to  be  made 
prettier  than  all  the  others,  and  waited  until  the  last,  but  then  they  found 
that  Kuekuaxa/oe  had  used  all  his  paint  and  had  only  some  charcoal 
left,  with  which  he  painted  them.  Therefore  they  are  black.  After  the 
birds  had  been  painted,  they  came  dancing  out  of  the  cave.  At  that 
time  Kuekuaxa/oe’s  canoe  was  burned.  If  you  do  not  believe  what  I 
said,  Koskimo,  come  and  visit  me  and  I will  show  you  the  place.” 
After  this  speech,  the  Na/q’oaqtoq  distributed  their  blankets  among 
the  Kwakiutl  and  Koskimo. 

After  this  was  done,  a messenger  entered  the  house  and  said : “ Some 
strangers  are  on  the  beach.”  The  speaker  of  the  Na/q’oaqtoq  sent  a 
man  out,  who  took  a torch  and  went  down  to  the  beach.  Soon  he 
returned  and  informed  the  speaker  that  some  white  men  had  landed 
and  asked  to  be  permitted  to  enter.  The  speaker  sent  for  them,  and  the 
messengers  came  back  leading  a young  Indian  girl,  who  was  dressed  up 
in  European  costume,  with  a gaudy  hat,  a velvet  skirt,  and  a silk  blouse. 
Then  they  asked  NoYq’auLEla  what  he  thought  of  her;  if  he  thought 
she  was  wealthy.  They  asked  him  to  send  her  back  if  she  should  be 
poor.  He  looked  at  her  and  said:  “I  can  easily  distinguish  rich  and 
poor  and  I see  she  is  wealthy.  Let  her  stay  here.”  Then  the  speaker 

1 That  means  giving  away  blankets.  When  blankets  are  given  to  a tribe,  it  is 
called  swallowing  the  tribe. 


560 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


looked  at  her  and  said : “Oh,  that  is  Mrs.  Nude.”  They  led  her  to  the 
rear  of  the  house  and  asked  her  if  she  carried  anything  in  her  pocket. 
She  produced  a roll  of  silver  quarter  dollars,  which  the  speaker  took 
and  distributed  among  the  people.  By  this  time  it  was  near  midnight. 

Now  the  speaker  said:  “Let  us  take  up  the  object  of  our  conven- 
tion.” The  festival  was  to  be  the  initiation  of  a new  q’o'minaqa. 
About  a fortnight  before  the  festival  the  host’s  daughter,  who  was  a 
q’o'minaqa,  had  died,  and  he  wanted  to  let  bis  niece  take  her  place. 
The  festival  was  to  be  her  initiation.  She  had  been  hidden  in  a secret 
room  in  the  rear  of  the  house,  and  when  the  singers  began  the  songs  of 
the  dead  girl  she  appeared  wearing  a blanket,  dancing  apron,  a round 
neck  ring,  and  a high  head  ring  which  was  covered  all  over  with  down. 
She  danced  very  slowly  around  the  fire,  accompanied  by  two  attendants. 
Her  hands  trembled.  They  were  held  horizontally  forward,  lightly 
bent,  her  elbows  resting  on  her  sides.  When  she  appeared,  three 
women  began  to  dance  in  the  rear  of  the  house  in  order  to  appease  her. 
After  four  circuits  she  disappeared  in  her  room,  followed  by  her  two 
attendants  and  the  three  dancers.  When  the  second  song  was  struck 
up,  she  reappeared  and  danced  in  the  same  manner  as  before.  At  the 
end  of  the  song  she  went  back  to  her  room.  During  the  third  and 
fourth  songs  she  grew  quiet  and  danced  like  other  women.  When 
she  appeared  for  the  fourth  time,  she  wore  a huge  round  head  ring.  She 
was  accompanied  by  an  old  woman,  the  aunt  of  the  deceased  girl,  who 
wore  no  ornaments,  and  whose  disheveled  hair  hung  loosely  over  her 
face.  This  indicated  that  she  was  in  deep  mourning. 

Soon  after  the  end  of  the  ceremony  the  song  of  a man  was  heard  in 
front  of  the  house.  He  approached  slowly.  Now  the  door  opened  and 
a naked  person,  wearing  only  an  apron,  and  a head  ring  of  red  cedar 
bark,  arm  rings,  and  anklets  of  the  same  material,  appeared.  He 
stayed  in  the  doorway  for  a long  time,  singing  his  secret  song.  Then 
he  came  forward,  looking  upward,  his  hands  laid  flat  to  the  back  side  of 
his  thighs.  With  short  quick  steps  he  ran  around  the  fire.  The  audi- 
ence became  restless,  because  they  feared  him,  the  ma/maq’a,  the 
thrower  of  sickness.  When  he  entered,  all  the  ha/mats’a  had  to  leave 
the  house.  As  soon  as  he  began  his  circuit,  a man  holding  a rattle  ran 
up  to  him  and  followed  all  his  movements.  As  soon  as  the  ma/maq’a 
came  to  the  rear  of  the  house  he  gave  a high  jump.  The  drummer  beat 
the  drum  rapidly  and  all  of  a sudden  the  ma/maq’a  had  caught  his  mag- 
ical stick,  which  he  held  between  his  palms,  drawing  it  out  long  and 
shortening  it  again.  Suddenly  he  threw  it  into  himself.  The  staff  had 
disappeared  and  he  fell  backward  in  frightful  contortions.  Blood  came 
pouring  out  of  his  mouth  and  out  of  his  chest.  After  some  time,  he 
pulled  the  stick  out  of  his  mouth,  recovered,  and  continued  his  dance. 
He  tried  to  catch  the  stick  again,  looking  upward  and  holding  his 
hands  close  to  his  thighs.  As  soon  as  he  had  caught  it  all  the  people 
arose,  and  when  he  threw  it,  they  stooped  down,  hiding  in  their 
blankets  and  crying,  “ wa.”  The  first  time  he  threw  his  stick  it  did  not 


THE  KWAKIUTL  INDIANS. 


561 


hit  anyone,  hut  when  he  threw  the  second  time  two  young  Ka/q’oaqtoq 
rushed  forward,  blood  pouring  out  of  their  mouths.  After  some  con- 
tortions they  lay  there  dead.  The  man  who  had  accompanied  the 
ma/maq’a’s  dance  with  his  rattle  was  acting  as  though  the  stick  had 
entered  his  throat  and  was  suffocating  him.  As  soon  as  the  ma/maq’a 
had  thrown  the  second  time,  he  disappeared  in  the  secret  room  in  the 
rear  of  the  house.  Soon  he  reappeared,  singing  over  the  dead,  who 
were  carried  into  the  secret  room.  Shamans  were  called,  who  sang  over 
them  and  cried  “lioip,”  while  the  ma/maq’a  danced  a third  and  a fourth 
time,  catching  and  throwing  his  stick,  without,  however,  hitting  anyone. 
This  was  the  end  of  the  ceremony. 

November  22. — In  the  morning  the  Koskimo  held  a secret  meeting, 
at  which  it  was  decided  that  Q’e'q’anqoala  was  to  show  the  dance 
Ba/baqoayuL  (soul  catcher).  In  this  dance,  which  will  be  found 
described  on  page  575,  the  dancer  pretends  to  capture  the  soul  of 
one  of  the  audience;  but  a certain  amount  of  property  is  made  to 
symbolize  the  soul.  When  therefore  a dancer  catches  a soul,  it  means 
that  he  takes  away  from  the  owner  a certain  amount  of  property,  which 
is  to  be  distributed  among  the  guests.  Therefore  the  speaker  asked  at 
this  meeting:  “ Q’e'q’anqoala  is  going  to  show  his  dance.  I want  to 
know  if  anyone  wants  him  to  catch  his  soul.”  Whoever  intended  to  dis- 
tribute blankets  offered  his  soul,  saying:  “Q’e'q’anqoala,  catch  my  soul, 
for  I want  to  give  away  blankets  to  our  rivals.”  The  speaker  thanked 
them  for  their  offer.  The  soul  is  represented  in  the  dance  by  a small 
ball  of  eagle  down,  which  is  attached  to  a string.  As  many  balls  are 
attached  to  the  string  at  equal  distances  as  there  are  men  who  offered 
their  souls  to  be  captured. 

In  the  afternoon  the  Kwakiutl  held  a meeting  at  the  assembly  place 
in  the  woods,  in  which  they  laid  out  the  plan  for  the  kue'xalak",  which 
was  to  take  place  on  the  same  evening.  The  Koskimo  intended  to  have 
a festival  on  the  same  day,  but  finally  gave  it  up  on  account  of  the  one 
to  be  held  by  the  Kwakiutl.  The  people  assembled  in  the  evening. 
The  Kwakiutl  sat  in  the  rear  of  the  house — the  Koskimo  on  the  right 
hand  side  on  entering,  the  Ka/q’oaqtoq  on  the  left  hand  side  on  enter- 
ing. The  last  to  enter  were  the  members  of  the  seal  society,  who 
took  their  seats  in  the  last  row  in  the  rear  of  the  house.  The  singers 
sat  in  front  of  them,  while  the  old  chiefs  occupied  the  front  row.  When 
all  had  assembled,  the  speaker  of  the  Kwakiutl  arose  and  said:  u Wel- 
come, friends,  on  both  sides  of  the  house.  We  are  all  in  our  dancing 
house.”  And  turning  to  the  members  of  the  seal  society:  “Do  not 
go  too  soon,  great  friends.”  Kow  turning  to  the  Kwakiutl,  he  said: 
“Kow  be  ready  with  your  batons.”1  As  soon  as  he  had  finished  his 

1 Wa!  qe'lag-a  wa'waxsotewallL  nenEmo'ku.  G'a/xmins  we'ltso  la/xEns 
Oh!  come  on  both  sides  in  the  house,  friends.  We  all  inside  in  our 

ts’aq'atsex.  K^o'sles  pak^a/laroL  nenEmoktse/k’as.  Wa  ya'LawiLdL 
dancing  house.  Not  you  you  hasten  to  go,  great  friends.  Oh ! take  care  in  the  house 

nos  nenEmo'ku  qa  s daXLa/liLalag-aos  saxs  tVmiayiiqos. 
my  friends  and  you  take  at  their  your  batons. 

ends 

NAT  MUS  95 36 


562 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


speech,  the  two  messengers  who  stood  in  the  doorway  said:  uK*ex* 
and  his  sisters  are  coming/’ 1 Then  the  door  opened,  and  the  members 
of  the  killer  whale  society  entered,  surrounding  the  dancer,  whose  name 
was  K*ex\  He  represents  the  Mink,  and  performs  the  dance  which, 
according  to  the  legend,  Mink  danced  after  having  killed  the  son  of 
the  wolves.  He  had  a red  circular  spot  surrounded  by  a black  ring 
painted  on  each  cheek.  He  danced  bolding  his  palms  downward  and 
raising  them  alternately  to  his  eyes,  as  though  he  was  hiding  his  face 
behind  his  blanket.  Another  man,  whose  name  was  also  K-ex-,  who 
was  sitting  in  the  rear  of  the  house,  began  dancing  when  the  singers 
commenced  K*ex*’s  song: 


*'-=72'  . _l  K = I _ _ J „ = 

/SY  o 

j 

& # # H 

! 

'£-7  h \ ^ ^ 7 J 

J 

Ya  ha  . . ya  ha  ya  ha  ...  . ya 

Clapping.  1 /f  js  | 1 /•?  /•?  / | 1 J"1  /7  J"  | 1 J"l  J"l  J'  | 


^ 

~v  .q  h - 1 

ha  Qapa  - ir 

1 i /-  1 

n,  —1  -J 

ia'io  K*c  - x*a 

1 - • 

i 

-J  _Ts_^_ 

nEqa  - ma  - i yaxs  N5l  - q’6  - eIse  - 

las  ya  ha  . . . ya  ha  ya  ha  . . . ya. 

- 1 J'  | i J"i  j"i  J'  | *r  Js*r  /f  > | r J"i  J"i  / : | 

That  is,  <?Mink  put  on  his  hea  d the  middle  of  the  face  of  NoLq’olsElas.” 

With  the  word  “Qapama/lo”  of  the  song  the  dancer  put  his  palms 
vertically  to  his  nose,  indicating  the  long  nose  of  the  fool  dancers. 
They  inserted  in  the  song  first  the  name  of  the  fool  dancer  hloLq’blsElas, 
who,  as  soon  as  his  name  was  mentioned,  tried  to  strike  the  dancer  and 
to  stop  his  song.  After  his  name  they  inserted  those  of  No'L’it  and  of 
Wa/xsqEmlis. 

Then  Qs'lqex'ala,  speaker  of  the  G’e'xsEm,  arose  and  said:  u This  is 
done  in  rivalry  with  what  the  Na/q’oaqtoq  did  last  night.  They  showed 
us  their  legends;  these  are  our  legends.  I do  not  need  to  tell  them  to 
you;  you  all  know  how  K*ex*,  the  Mink,  killed  the  son  of  the  wolves.” 

ISTow  the  door  opened,  and  four  men  dressed  as  policemen  entered. 
They  were  KuLE'm,  MEsx-a/q,  xE'lpatosEla,  and  G’b'koya. 

The  last  of  these  acted  the  judge  and  carried  a book.  He  sent  the 

^•a/xLig-a  K’ex'ik*  Lo'gwas  wls'waqoak-. 

He  comes  Mink  with  his  sisters. 


THE  KWAKIUTL  INDIANS. 


563 


policemen  around  asking  if  everybody  was  present,  and  KuLE'm  asked, 
“Are  all  here  % ” The  people  replied,  “ Yes.”  Then  the  two  other  police- 
men went  around,  looked  at  everybody,  and  stated  that  one  person  was 
missing.  They  went  out,  and  soon  returned  leading  the  old  woman 
Gudo'yo,  whose  hands  were  fastened  with  handcuffs.  Then  they  pre- 
tended to  hold  court  over  her  on  account  of  her  absence.  The  judge 
pretended  to  read  the  law  on  the  case,  and  fined  her  $70.  She  replied 
that  she  was  poor;  that  she  was  able  to  pay  in  blankets,  but  had  no 
ready  money.  KuLE'm,  who  acted  the  interpreter,  pretended  to  trans- 
late what  she  said  into  English,  and  the  payment  of  70  blankets  was 
accepted.  Then  the  friends  of  Gudo'yo  turned  against  the  judge  and 
said:  “That  is  always  your  way,  policemen.  As  soon  as  you  see  any- 
one who  has  money,  you  arrest  him  and  fine  him.”  She  was  unchained, 
and  the  policemen  went  back  to  the  door.1 

They  called  K-ex*  and  his  friends,  the  killer  whales,  and  told  them 
to  fetch  the  70  blankets.  The  cousin  of  the  old  woman,  who  was  the 
speaker  of  the  Maa'mtag-ila,  told  them  where  to  go,  and  soon  they 
returned.  Gudo'yo’s  sister,  Le'mElxa'lagdlis,  followed  them,  dancing. 
All  the  people  were  singing  a ha'mshamtsEs  song  for  her.  The  blan- 
kets were  distributed  in  her  name.  The  ma/maq’a  of  the  Na/q’oaqtoq 
received  his  share  first;  then  the  other  members  of  his  tribe,  and  after- 
wards the  Koskimo,  beginning  with  the  ha/mats’a.  While  this  was 
going  on,  button  blankets  and  bracelets  tied  to  sticks  were  being  carried 
into  the  house.  A G-e'xsEin,  whose  daughter  had  married  Le'Lelalak'1, 
a G’ffgdlqam  of  the  Kue'xa,  was  going  to  repay  the  purchase  money  of 
his  daughter.  This  ceremony  is  called  “the  brief  qaute'x-a.”  The 
speaker  of  the  G-e'xsEm,  QE'lqex*ala,  arose  and  shouted:  “Get  ready, 
Le'Lelalak11,”2  and  called  all  the  chiefs  of  the  clan  Gd'g-ilqam.  Le'Le- 
lalak11  was  sitting  at  the  left-hand  side  of  the  door.  He  arose  and  said : 
“Did  I hear  you  call  my  name*?”  “ Yes,” replied  the  speaker,  “your 
father  in-law  is  going  to  repay  you.”  “I  wish  it  were  true  what  you 
said,”3 *  remarked  Le'Lelalak11. 

Then  the  speaker  counted  39  button  blankets  and  gave  them  to  him, 
saying  that  the  fortieth  was  not  quite  finished  yet;  and  he  added: 
“Here  are  120  blankets;  if  your  button  blankets  should  not  be  enough 
for  all  the  guests,  you  may  use  these.”  After  he  had  spoken,  K-a/qoLe, 
a speaker  of  the  G-ffg-ilqam,  arose,  holding  the  speaker’s  staff  in  his 
hands,  and  said:  “I  will  go  and  take  the  blankets.”  With  quick  steps 
he  ran  around  the  fire,  turning  in  the  rear  and  in  the  front  of  the  house. 
That  meant  that  he  was  treading  on  all  the  tribes,  because  the  Kwakiutl 
rank  highest  of  all.  Then  he  struck  the  pile  of  blankets  with  his 

^his  performance  was  first  introduced  in  1865,  and  has  been  kept  up  since  that 
time. 

2We7g-a  Soa'liLx  Le'Lelalak0. 

Go  on,  stand  in  the  house,  Le'Lelalak0. 

3We/xEnL  a/lanes  Las  ne'k-a. 

I wish  it  was  true  what  he  said. 


564 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


staff.  That  meant  he  broke  the  canoe  in  which  the  blankets  were 
stored  so  that  they  fell  into  the  sea,  the  sea  meaning  the  other  tribes. 
Now  he  turned  angrily  to  the  Na/q’oaqtoq,  and  said : “ I am  Le'Lelalak*1, 
who  promised  to  give  blankets  to  the  Na'q’oaqtoq.”1  After  he  had  fin- 
ished, QEfiqex’ala  spohe  again  and  gave  Le'Lelalak11  the  name  which 
was  promised  to  him  at  the  time  of  his  marriage  by  his  father-in-law. 
He  said:  “Your  name  shall  be  G’a'lqEmalis;2  your  name  shall  be 
QEmo'ta’yalis2  (howling  over  all  the  tribes),  and  your  name  shall  be 
L’emElxElag-ilis3  and  SEbE'lxalag'ilis.” 

Then  NE'msqEmiit,  an  old  chief  of  the  G •i/g*ilqam,  spoke:  “Now 
you  will  be  Walas’axa'ak11.”4  Immediately  x-I'x'eqala,  chief  of  the 
G-i'g-ilqam,  interrupted  him:  “I  am  the  only  one  who  has  the 
Walas’axa'ak11.  Do  you  want  to  know  where  I obtained  it?  Walas 
NEinogwis  and  O’maxt’a/laLe  lived  in  K*’a/qa.  There  he  first  came 
down  fromheaveu,  there  he  had  his  dancing  house,  and  since  that  time 
it  is  called  4 K*a/qa,?  or  built  on  a rock.  Gome!  Wa'xsqEmis,  that  we 
may  express  our  joy.”  Wa/xsqEinis  is  a fool  dancer,  and  as  soon  as  he 
was  called  he  became  excited,  and  ran  around  the  fire  in  the  fashion  of 
the  fool  dancers,  crying  “hi,  hi,  hi.”  Then  the  people  sang  his  song. 
Now  x-Ux-eqala  continued,  turning  to  the  other  tribes:  “I  will  tell  you 
how  strong  my  clan  is:  Here  is  the  copper  Ma/xts’olEmtsewuL  lying 
dead  in  the  water  off  our  beach.  Here  is  the  copper  Ya'xyaxaqau'- 
loma  lying  dead  in  the  water  off  our  beach.  Here  is  the  copper 
Ya'xyaxaqau'loma  lying  dead  in  the  water  off  our  beach.  Here  is  the 
copper  Qoayi'mkdn  lying  dead  in  the  water  off  our  beach.  Here 
is  the  copper  Qa’wl'g'a  lying  dead  in  the  water  off  our  beach.  Here 
is  the  copper  NE'nqamala  lying  dead  in  the  water  off  our  beach.”5 * * * * * 

When  the  name  of  the  copper  Qa’wUg-a  (meaning  raven)  was  called, 

*Nine  years  ago  Le^elalak*1  had  promised  blankets  to  the  Na/q’oaqtdq;  but  as  he 
had  not  fulfil  3d  his  promise  so  far,  he  was  much  ridiculed.  Whenever  a festival  was 
held,  they  sai  they  heard  him  crying  in  the  woods  because  he  was  not  able  to 
gather  a sufficient  number  of  blankets. 

2A  Walas’a^a'  name. 

3 A ha'mshamtsEs  name. 

4La’ams  Walas’axa'ak11  lo 

Now  you  Walas’axaku  you. 

5G*a/am  La/qoak*  Ma/xts'olEmtsewuL  y&/xstalis  la'xoa  i/Ema/ls.  G-ame's 

This  is  the  copper  Maxt’solEmtsewuL  it  is  dead  on  this  beach.  This  is 

in  the  water. 

Ya'xyaxaqau'lomak’a  ya/xstalis  la'xoa  i/Ema/is,  etc. 

Ya'xyaxaqau'loma  it  is  dead  on  this  beach, 

in  the  water 

The  expression,  “ lying  dead  in  the  water  off  our  beach,”  means  that  the  clan  had 
broken  it. 

The  first  of  these  coppers  is  valued  at  4,000  blankets,  the  next  at  3,500  blankets. 
It  is  counted  twice,  because  it  was  broken  twice  by  the  clan.  The  Qoayl'mk’in  cop- 
per is  valued  at  1,500  blankets. 


THE  KWAKIITTL  INDIANS. 


565 


everybody  expected  that  the  ha/mats’a  would  get  excited,  and  looked 
at  him  anxiously,  but  everything  remained  quiet.  X-I'x^eqala  continued: 
‘‘That  is  the  strength  of  my  clan.  None  among  all  the  other  Kwakiutl 
clans  ever  broke  as  many  expensive  coppers  as  we  did.”  With  every 
copper  that  he  named  he  put  his  staff  down  violently,  bending  his  knees 
at  the  same  time.  Then  he  turned  to  the  Oe'xsEin  and  said : “I  thank 
you  for  the  button  blankets  and  for  the  2,000  bracelets,”  and  promised 
at  once  to  distribute  the  blankets  among  the  Na/q’oaqtoq. 

After  he  had  spoken,  Le'Lelalak11  asked  his  brother-in-law,  “What 
became  of  the  40  blankets  which  I gave  you  at  the  time  of  my  mar- 
riage to  your  sister?  If  you  do  not  want  to  pay  them,  say  so;  but  if 
you  do  intend  to  pay  them,  let  me  know.  Do  as  you  have  a mind  to; 
I do  not  care.”*  Then  his  brother-in-law  replied  that  he  was  going  to  pay 
in  course  of  time.  Le'Lelalak11  then  promised  to  give  the  40  blankets 
to  the  Koskimo. 

Now  Ho'LElite  arose  and  said : “You  have  finished.  Now  let  us  take 
up  the  object  of  our  convention.”  The  blankets  were  put  aside.  As 
was  stated  before,  the  festival  was  to  be  a kue'xalaku — that  means  the 
initiation  into  one  of  the  lower  ranks  of  the  secret  societies.  The  per- 
son to  be  initiated  was  the  son  of  Se'gmg'ila,  who  had  arranged  this 
feast.  He  gave  his  membership  in  the  fool  dancer  society  to  his  young 
son.  The  people  began  to  sing  a fool  dancer’s  song.  Then  suddenly 
a fool  dancer  rushed  out  of  the  right  hand  rear  corner  of  the  house 
carrying  his  young  son  in  his  arms  and  crying,  “ wie',  wie'.”  At  the 
same  time  he  cleaned  his  nose  and  put  the  mucus  on  the  boy’s  face. 
This  is  done  because  it  is  supposed  that  the  power  of  the  fool  dancer 
is  seated  in  the  mucus.  After  he  had  run  around  the  fire  once  he  dis- 
appeared again  behind  the  curtain  which  was  drawn  in  the  rear  of  the 
house.  Ho'LElite  arose  again  and  said:  “This  is  NuLt’aqa'lag-ilis,” 
thus  naming  the  place  which  the  boy  was  to  occupy.  The  people  sang 
again,  and  a woman  wearing  the  headdress  of  the  Na/naqaualiL  came 
out.  Another  woman  danced  backward  in  front  of  her.  A man  carry- 
ing a rattle  accompanied  her.  This  dance  was  not  an  initiation,  but 
only  a representation  of  the  dance  which  X*I'x*eqala  had  obtained  from 
his  wife  by  marriage.  After  this  dance  was  finished,  a young  boy  was 
to  perform  another  Na/naqaualiL  dance.  He  came  out  and  danced  once 
around  the  fire,  accompanied  by  one  man  carrying  a rattle  and  three 
others  who  watched  him.  He  wore  a head  ornament  with  four  horns. 
After  this  dance  he  disappeared  behind  the  curtain,  and  when  the 
second  song  commenced,  a large  mask  representing  the  sunrise  Na'x- 
naik-emL  appeared  in  the  rear  of  the  house,  coming  from  behind  the 
curtain.  It  was  a double  mask,  which  in  the  course  of  the  dance  was 
to  open.  When  the  wearer  of  the  mask  opened  it,  one  side  of  the 
cover  broke.  Although  the  attendants  rushed  up  to  the  mask  imme 
diately,  trying  to  cover  it,  the  lia'inats’a  had  seen  what  had  happened 


566 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


and  became  excited  at  once,  crying  “hap,  bap,  hap.”  The  fool  dan- 
cers and  the  bears  joined  him.  The  ha/mats’a  rushed  down  into  the 
middle  of  the  house,  the  fool  dancers  struck  and  stabbed  the  people 
and  pelted  them  with  stones,  and  the  bears  scratched  them.  The  great- 
est excitement  prevailed.  After  a very  short  time  the  members  of  the 
secret  societies  of  the  other  tribes  became  excited  too.  The  ha'mats’a 
of  the  Koskimo  jumped  up  trembling  and  crying  “hap,  hap.”  The 
Na/q’oaqtoq  ha/mats’a  followed,  and  so  did  the  pa'xala,  who  jumped 
about  the  fire  squatting  and  crying  “ mamamamamama,”  which  is  the  cry 
of  the  ghosts.  He  took  burning  coals  and  firebrands  and  threw  them 
among  the  people.  The  women  ran  screaming  into  the  bedrooms. 
The  Koskimo  accompanied  their  ha/mats’a  out  of  the  house,  and  the 
Na/q’oaqtoq  were  driven  out  by  their  ha'inats’a.  While  this  was  going 
on,  some  of  the  Kwakiutl  were  trying  to  rearrange  the  fire.  According 
to  the  rules,  the  members  of  the  seal  society  ought  to  have  broken  the 
right-hand  side  of  the  house  first,  the  left-hand  side  next,  and  ought 
to  have  driven  out  the  people  in  this  manner,  the  lia/mats’a  biting 
the  people,  the  fool  dancers  striking,  and  the  bear  dancers  scratching 
them.  But  it  seems  that  there  was  some  misunderstandiug  in  this 
case,  and  the  house  was  not  broken,  although  the  excitement  which 
prevailed  was  very  great.  While  the  Kwakiutl  were  trying  to  rear- 
range the  fire,  T’et’esumx-tsana,  uncle  of  the  Na'q’oaqtoq  pa'xala,  ran 
around  the  fire  shouting  “naualakwai' 1”1  drawing  the  word  out  as  long 
as  his  breath  would  allow.  As  the  people  left  the  house,  the  noise 
subsided,  although  the  members  of  the  seal  society  continued  to  rave 
in  the  house. 

After  a while  the  Koskimo  returned  into  the  dancing  house,  four 
men  going  first,  each  carrying  a staff  held  in  a horizontal  position,  and 
each  singing  his  own  song. 

They  were  Wma'lagdlis.  They  led  a young  girl,  who  wore  a head 
ring.  She  was  just  initiated  into  a secret  society.2  Then  two  of  the 
speakers  spoke  at  the  same  time.  So  far  as  it  was  possible  to  make 
out  what  they  said,  they  spoke  about  as  follows:  “This  girl  has  been 
the  game  of  Wlna/lagdlis,  who  is  hunting  novices.”  They  led  her 
around  the  fire  once  and  guided  her  behind  the  curtain.  While  she 
was  going  around  the  fire,  the  Na/q’oaqtoq  pa'xala  pointed  his  staff 
at  the  Koskimo.  This,  it  is  said,  meant  that  he  would  kill  them  if 
they  did  not  bring  a novice. 

Now  the  Na'q’oaqtoq  entered,  first  a ha/mats’a  and  two  t’o'X’uit, 
who  held  each  other  by  the  hand.  When  they  came,  the  pa'xala,  who 
was  all  the  time  standing  with  bent  knees,  dropped  down  still  lower. 
Next,  two  ma'maq’as  entered  carrying  a dead  child  in  their  arms. 
T’o'pewa,  speaker  of  the  Na'q’oaqtoq  said:  “Na'q’oaqtoq  and  Kos- 

1 Spirit  of  the  winter  dance. 

2People  who  are  initiated  for  the  first  time  are  called  wa'tanEm.  After  they  have 
been  wa'tanEm  four  times  they  become  members  of  the  higher  societies,  the  la/xsa. 


THE  KWAKIUTL  INDIANS. 


567 


kimo,  you  have  a hard  task;  you  must  kick  against  a high  moun- 
tain.1 Wina/lag-ilis  or  Hai'aLilaqas  has  killed  this  boy,  the  son  of 
XExua/nElq’ala,  the  pa'xala.  The  supernatural  power  came  and  took 
him  away.  He  is  dead.  We  will  try  to  resuscitate  him.” 

As  soon  as  he  said  so,  the  ma/maq’a  tried  to  throw  the  body  into 
the  fire.2  T’e't’esumx-tsana  and  TWpewa  pushed  them  back  and 
asked  for  assistance.  Xow  they  put  the  body  down  on  top  of  a box 
and  TVpewa  asked  the  highest  pa'xala  of  the  tribe  to  try  to  resusci- 
tate the  boy.  Lo'Xoaxstaak11  came  and  sang  his  secret  song.  Then 
he  spoke  to  the  Kwakiutl:  “ Friends,  if  you  have  a mask  for  the 
winter  ceremonial  which  you  want  to  show,  do  not  let  a stranger  use 
it;  teach  your  own  people  to  show  it,  that  no  mistake  may  occur. 
Only  because  a stranger  showed  your  mask  a mistake  happened  and 
brought  about  our  great  difficulty.  I say  so,  T’o'pewa.” 3 Then  he  went 
around  the  fire  singing.  After  he  had  made  one  circuit,  the  women 
joined  his  song  and  a deep  sounding  whistle  was  heard,  which  repre- 
sents the  breath  of  the  pa'xala.  He  sang  four  songs,  and  after  every 
song  the  whistles  were  heard.  Every  time  it  sounded  the  Kwakiutl 
beat  time  and  cried  “ha,  ha,  ha,  ha.”  Then  the  boy  began  to  move 
again  and  pretended  to  come  to  life.  This  was  the  end  of  the  festival. 

When  all  was  over,  the  ha/mats’a  of  the  Koskimo  appeared  once 
more  and  ran  around  the  fire,  followed  by  his  assistants.  Then  he  dis- 
appeared again. 

November  23. — Early  in  the  morning  the  Koskimo  dressed  themselves 
to  meet  their  novice.  Two  messengers  went  through  the  village  and 
asked  the  people  to  clear  the  floors  of  the  houses  and  to  sweep  them- 
They  arranged  themselves  in  two  groups — first  the  wi'xsa,  then  the 
la/xsa.  One  of  the  former  carried  a skin  drum.  The  men  walked 
first.  They  were  followed  by  the  women,  among  whom  was  the  new 
wa/tanEm,  who  was  initiated  the  preceding  night.  The  men  were 
singing  while  the  women  were  dancing.  The  wa/tanEm  danced,  raising 
her  hands  alternately,  her  elbows  close  to  her  sides,  the  palms  of  the 
hands  upward.  She  had  four  feathers  on  her  head  ring.  She  did  not 
dance  with  the  first  song,  but  joined  the  dance  during  the  second,  third, 
and  fourth  songs.  The  la/xsa  followed  the  wl'xsa  at  a short  distance. 
The  men  were  singing,  a woman  beat  a skin  drum,  and  others,  among 
them  another  wa'tanEm,  were  dancing.  Thus  they  walked  from  one 
house  to  the  other.  A few  hours  after  this  the  ha/mats’a  was  heard  all  of  a 

]Meaning  that  they  had  to  strive  against  the  Kwakiutl. 

2As  all  of  this  was  quite  unprepared,  the  ceremony  was  not  carried  out  as  it  is  in 
other  cases.  If  the  performance  has  been  planned  beforehand,  the  ma'maq’as  would 
have  provided  themselves  with  a skeleton,  which  they  would  have  carried  in  their 
arms  instead  of  the  child.  They  would  have  thrown  the  bones  into  the  fire,  and 
after  the  charred  remains  had  been  seen,  by  the  people  they  would  have  made  them 
disappear  in  a ditch  made  for  the  occasion,  and  the  boy  would  have  risen  at  the 
place  where  the  charred  bones  had  been  seen  before. 

3He  spoke  in  behalf  of  the  latter  and  therefore  used  his  name. 


568 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


sudden  on  the  beach  west  of  the  village,  but  soon  he  disappeared  again. 
Then  the  Koskimo  walked  behind  the  village,  where  the  u breathing 
hole77  of  the  ha/mats7a  is  supposed  to  be.  During  this  time  he  is  believed 
to  be  in  the  underworld.  They  went  behind  the  village,  thinking  that 
he  might  come  up  from  underground.  About  11  a.  m.,  a man  who  had 
gone  into  the  woods  west  of  the  village  to  gather  alder  bark,  was 
attacked  by  the  ha/mats7a  of  the  Koskimo.  In  order  to  save  himself 
from  the  attack,  he  ran  into  the  sea  and  walked  home  in  the  salt  water, 
pursued  by  the  ha/mats7a.  His  cries  soon  attracted  the  attention  of 
the  people.  They  ran  up  to  the  ha/mats’a  and  surrounded  him.  He 
was  naked,  except  that  he  wore  a head  and  neck  ring  of  hemlock 
branches  and  a belt  and  apron  of  the  same  material. 

After  he  had  been  caught,  the  Koskimo  sat  down,  and  the  song  maker 
taught  them  his  new  songs.  After  they  had  learned  the  songs,  they 
arose.  The  men  took  a long  plank  and  beat  time  on  it,  while  one  was 
carrying  the  skin  drum.  They  sang  the  first  two  of  the  new  songs. 
The  women  went  ahead,  dancing  in  honor  of  the  ha'mats’a,  who  was 
dancing  in  a squatting  position.  Thus  they  approached  the  village 
slowly,  going  along  the  beach. 

Finally  they  entered  the  dancing  house,  where  the  ha/mats7a  danced, 
accompanied  by  the  first  and  second  songs.  Then  he  disappeared  in 
his  bedroom  with  his  attendants. 

Now  Lo'Xoaxstaaku  arose  and  said:  u Xow,  friends,  I will  ask  you 
to  help  me  and  dance  to-night  with  the  new  ha/mats7a  which  was  given 
to  you,  Toqoamalis,  chief  of  the  Koskimo,  by  the  giver  of  the  winter 
ceremonial.  I follow  his  law.  All  the  ha'mats’as  shall  dance  with  our 
new  ha/mats7a.  I do  not  know  yet  what  his  name  is  going  to  be.  I ask 
you,  Ts’a/qoalag-ilis;  and  you,  Ta/nisk'aso;  and  you,  Qoa/ts’amya;  and 
you,  LemElxafiag-ilis ; and  you,  N a/noqois ; and  yoUjWeqoainiLa'lagfilis. 
Xow  you  all  must  go  and  wash  in  the  water  of  BaxbakualanuXsi'wae 
and  put  on  the  dress  of  the  BaxbakualanuXsFwae.  That  is  all.77 

Then  To'qoamalis  arose  and  said : “ O my  children.  I am  glad  to  see 
that  you  are  obeying  the  laws  that  were  given  to  our  ancestors.  You 
know  that  if  we  make  a mistake  in  this  ceremonial,  it  means  that  our 
lives  will  be  cut  short.  When  I was  a young  man,  I have  seen  my 
grandfather  kill  a man  who  broke  the  rules  of  the  red  cedar  bark. 
Thus  I tell  you  A'Labala,  and  you  Lo'Xoaxstaak11.  That  is  all.77 

Most  of  the  people  now  left  the  dancing  house.  All  day  whistles 
were  heard  proceeding  from  the  room  of  the  ha'mats’a.  The  people 
prepared  for  the  dance  that  was  to  be  celebrated  that  night. 

The  members  of  the  seal  society  of  the  Kwakiutl  had  remained 
in  their  dancing  house  since  the  preceding  night.  They  were  not 
allowed  to  leave  it  until  the  approaching  k-ik-i'lnala.  The  fool 
dancers  and  bears  however,  were  sent  out  every  now  and  then  to 
get  food.  At  other  times  they  ran  out  of  the  house  with  their  lances 
and  struck  and  scratched  the  people  or  threw  stones  at  them.  Some- 


THE  KWAKIUTL  INDIANS. 


569 


times  the  ha/mats’a,  accompanied  by  some  of  the  fool  dancers  and  bears, 
would  leave  the  house  and  attack  the  people.  In  the  afternoon  all  the 
members  of  the  seal  society  appeared  on  the  roof  of  the  house. 
Every  society  howled  its  peculiar  cries,  the  fool  dancers  throwing  stones 
at  the  people.  During  all  this  time  the  people  were  forbidden  to  pass 
in  front  of  the  house.  Whenever  anyone  approached  the  house,  the 
members  of  the  seal  society  frightened  him  away.  While  they  were  on 
the  roof  of  the  house,  all  standing  at  the  front  edge  of  the  roof,  a man 
approached.  Immediately  the  ha'raats’a  and  bears  jumped  down  and 
pursued  him.  The  fool  dancers  climbed  down  the  sides  of  the  house, 
and  all  went  in  hot  pursuit  until  the  man  escaped  into  one  of  the  neigh- 
boring houses.  Whistles  of  the  different  societies  were  heard  in  the 
house  all  day  long. 

About  half  past  six  in  the  evening,  Lagula/g*aliL  and  Lo'Xuals  black- 
ened their  faces,  put  on  blankets  and  belts,  head  rings  and  neck  rings 
of  red  cedar  bark,  and  strewed  eagle  down  on  their  heads.  Then 
they  left  the  dancing  house  and  opened  the  door  of  the  neighboring 
house.  There  they  stood,  and  Lagula/g-aliL  cried:  “Now,  que/qutsa 
men  and  women,  let  us  go  into  the  house;”  and  Lo'Xuals  added:  “ We 
will  pacify  our  cannibal.”  Thus  they  went  from  house  to  house.  When 
they  had  returned  from  the  round,  four  young  men  went  and  called  the 
people,  saying:  “Now  we  come  to  make  you  rise.”  While  they  were 
still  going  around,  some  of  the  Koskimo  gathered  in  the  dancing  house, 
beat  the  boards,  and  cried  “yu”  twice,  giving  a short  final  rap  with  each 
cry.  As  soon  as  the  Kwakiutl  heard  the  beating,  they  all  went  to  the 
dancing  house.  There  the  beating  and  the  cries  were  repeated  twice. 

About  8 p.  m.  all  had  assembled  in  the  dancing  house.  The  men  of 
the  Koskimo  tribe  were  sitting  in  the  rear  portion  of  the  house.  Then 
LoXuaxstaaku,  a Koskimo,  arose  and  spoke:  “Come, friends,  that  you 
may  see  the  manner  in  which  I perform  the  winter  ceremonial.  This 
was  given  to  us  by  the  creator  of  our  ancestors.  Your  ways,  Kwakiutl, 
differ  greatly  from  ours.  They  were  given  to  you  in  the  beginning  of 
the  world.  Take  care  and  do  not  change  your  old  customs,  Kwakiutl ! ” 
Then  he  turned  to  his  tribe  and  asked  them  to  hold  their  batons  in 
readiness.  While  he  was  speaking  he  held  his  staff  in  a horizontal 
position.  Then  Ho'LElite,  chief  speaker  of  the  Kwakiutl,  replied: 
“Your  speech  is  good,  friend.  It  is  true  what  you  said.  I am  glad  to 
see  that  you  are  adhering  to  the  customs  that  were  given  to  you;”  and, 
turning  to  the  Kwakiutl,  he  continued,  “We  must  answer  our  friends.” 

Now  the  rest  of  the  que'qutsa  of  the  Koskimo  entered — first  G’a'lolL, 
the  chief  speaker  of  the  dancers.  He  held  a speaker’s  staff  in  his 
hands  and  carried  a number  of  blankets  over  his  shoulder.  He  was 
singing  his  secret  song  while  the  others  were  singing  outside  the  house. 
He  sang  as  follows : 

1.  I tried  to  tame  them  by  the  power  of  my  magic,  friends. 

2.  I blew  water  upon  them  to  tame  them,  friends. 


570 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


A second  speaker  followed,  carrying  his  staff.  His  name  is  Ma/a. 
He  is  the  highest  in  rank  of  all  the  que'qutsa.  When  he  entered, 
G^a'lolL  stopped  singing  and  Ma'a  commenced  his  secret  song.  At  the 
same  time  G-a'lolL  addressed  the  people  and  said:  “Now  look  at  me 
and  at  my  friend.  Look  at  us,  friends,  at  the  other  side  of  the  house” 
(meaning  the  Kwakiutl).  And, turning  to  his  own  tribe, he  continued: 
“Now  take  care,  friends!”  To  which  A'Labala,  another  speaker,  who 
stood  next  to  LoXuaxstaaku,  replied:  “Yes,  friends,  let  us  keep  in 
readiness.  If  we  should  make  a mistake,  we  shall  not  escape  the  power 
that  will  kill  us.”  During  these  speeches  Ma/a  sung  his  secret  song,  as 
follows : 

1.  Ah,  I have  everything;  I have  all  the  dances  of  my  enemy. 

2.  Ah,  I have  all  the  death  hringers  of  my  enemy. 

Now  a third  man,  a wolf  dancer,  entered.  Two  white  feathers  were 
attached  to  his  head  ring  of  red  cedar  bark  and  his  head  was  strewn 
with  white  eagle  down.  His  name  was  NaqwaLaye.  As  soon  as  he 
entered,  To'qoamalis  and  Lagulag-aliL,  the  chiefs  of  the  Koskimo,  who 
had  been  sitting  in  the  rear  of  the  house,  arose,  and  with  them  their 
speaker,  QoaTx-ala. 

NaqwaLaye’s  head  ring  belongs  to  the  descendants  of  Ya'xstaL  of 
the  Naqd'mg-i  lisala.  According  to  tradition,  the  Xoya/lEs  (see  also 
p.  332)  had  killed  all  the  Gdg-e'LEm,  except  LeodExmut  and  his  three 
sons,  the  eldest  of  whom  was  Ya'xstaL.  In  order  to  make  his  sous 
strong,  Leo'lExmut  dragged  them  over  the  beach  around  the  island  of 
G-ig-e'LEm,  so  that  the  sharp  shells  cut  their  backs.  Only  Ya'xstaL 
survived  this  ordeal,  and  came  to  be  of  supernatural  strength.  Then 
they  went  to  make  war  upon  the  Xoya/lEs.  When  they  had  reached 
Ta'tsolis,  a wolf  came  to  their  camp  while  they  were  asleep,  threw 
Ya'xstaL  on  his  back,  and  carried  him  away.  From  time  to  time  he 
put  him  down,  in  order  to  see  if  he  was  still  alive.  When  he  felt  his 
breath,  he  took  him  up  again  and  continued  his  course.  Finally  he 
reached  the  village  of  the  wolves.  He  threw  Ya'xstaL  down  in  front 
of  the  chief’s  house  and,  having  assumed  human  shape,  he  whistled. 
Then  many  people  came  out  of  the  houses  to  see  who  had  come.  They 
mistook  Ya'xstaL  for  a sea  otter,  carried  him  into  the  house,  threw  him 
down,  and  began  to  cut  him  up.  When  they  had  cut  down  his  chest 
and  were  about  to  open  his  belly,  he  jumped  up  and  asked:  “Will  you 
help  me  to  take  revenge  upon  the  Xoya'lEs?”  The  wolves  promised 
to  help  him,  and  asked  him:  “What  did  you  come  for?  Do  you  want 
to  have  this  wedge?  It  will  help  you  to  build  canoes  in  which  you  can 
reach  your  enemies.”  Ya'xstaL  did  not  reply,  but  merely  thought  he 
did  not  want  to  have  the  wedge.  WlLaqa/latit,  chief  of  the  wolves, 
knew  his  thoughts  at  once.  He  asked:  “Do  you  want  the  harpoon? 
It  will  enable  you  to  kill  seals  enough  at  a time  to  fill  your  canoe.” 
Ya'xstaL  thought  that  he  did  not  want  to  have  the  harpoon,  and  WiLa- 
qa/latit  knew  his  thoughts.  Then  the  wolves  offered  him  the  water  of 


THE  KWAKIUTL  INDIANS. 


571 


life  and  the  death  bringer.  He  thought:  “That  is  what  I came  for.” 
WlLaqa/latit  knew  his  thoughts  and  gave  them  to  him.  Then  he 
ordered  the  wolves  to  devour  Ya'xstaL.  At  once  they  tore  him  to 
pieces  and  devoured  him.  They  vomited  the  flesh,  and  when  WlLaqa/- 
latit  sprinkled  it  with  the  water  of  life,  Ya'xstaL  arose  hale  and  well. 
He  had  become  exceedingly  strong.  Then  they  carried  him  home.  He 
was  standing  on  the  back  of  the  largest  of  the  wolves. 

After  he  had  come  back,  he  and  his  father  continued  their  journey. 
While  they  were  traveling,  Ya'xstaL  tried  his  death  bringer.  He  moved 
it  in  the  direction  of  the  woods.  At  once  they  began  to  burn.  How 
they  met  the  Xoya/les,  who  were  coming  up  to  them,  many  canoes  full. 
LeoflExmut  said  to  Ya'xstaL:  “How  use  your  death  bringer,  but  do 
not  kill  them  outright ; burn  them.”  Then  Ya'xstaL  pointed  the  death 
bringer  at  the  Xoya/lEs  while  his  father  was  singing.  They  were 
stricken  with  terror  and  jumped  into  the  water,  their  canoes  caught 
fire,  and  they  were  all  transformed  into  stones. 

The  two  feathers  on  the  head  ring  of  the  dancer  represented  the 
death  bringer  of  Ya'xstaL. 

Hext  two  couples  entered,  each  couple  hand  in  hand.  The  first  couple 
were  qa'La  (a  man)  and  Po'wig-ilis  (a  woman) ; the  second  couple  were 
G*a'sa  (a  man)  and  G-o'qoade  (a  woman).  G*a/sa  was  carrying  a cop- 
per. The  faces  of  these  four  persons  were  painted  red.1 

When  they  had  reached  the  rear  of  the  house,  G#a/sa  spoke  as  follows : 
“ Oh,  friends ! turn  your  faces  this  way.  Look  at  me ! Treat  me  and 
my  cedar  bark  ornaments  in  the  right  manner.  In  former  times  I and 
my  people  have  suffered  at  your  hands,  Kwakiutl.  We  used  to  fight 
with  bows  and  arrows,  with  spears  and  guns.  We  robbed  each  other’s 
blood.  But  now  we  fight  with  this  here”  (pointing  at  the  copper  which 
he  was  holding  in  his  hands),  “and  if  we  have  no  coppers,  we  fight 
with  canoes  or  blankets.  That  is  all.” 

To  this  the  speaker  Qoa'lx-ala  replied:  “True  is  your  word,  friend 
G*a/sa.  When  I was  young,  I have  seen  streams  of  blood  shed  in  war. 
But  since  that  time  the  white  man  came  and  stopped  up  that  stream 
of  blood  with  wealth.  How  we  are  fighting  with  our  wealth.  That  is 
all.”  Then  he  said,  turning  to  his  tribe,  “ How,  my  singers,  take  your 
batons  and  be  ready  to  sing.” 

Then  they  all  began  to  beat  time  and  cried  “he.”  They  continued 
with  a song,  for  two  women,  Me'xas  and  Tsa'uLala,  came  in  dancing : 

Ah,  magician,  ah,  ah,  ah,  magician,  magician,  magician.  (Repeated  ad  infinitum.) 

When  the  dance  ended,  G*a/sa  spoke  again:  “You  have  seen  our  two 
friends  dancing  on  account  of  this  copper.  Its  name  is  1 Killer  Whale.’ 
It  is  the  property  of  my  tribe,  of  the  Koskimo.  How  I will  sell  it  to 

]Up  to  this  year  the  Koskimo,  Na/q?oaqt6q,  and  La'Lasiqoala  never  used  red  paint 
during  the  winter  ceremonial.  The  que'qutsa  of  the  Kwakiutl  have  been  using  red 
paint,  and  this  has  been  imitated  by  the  other  tribes. 


572 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


yon,  Kwakiutl.  I promise  to  give  its  value  to  you  Gue'tEla,  and  to  you 
Q’o'moyue,  and  to  you  Walas  Kwakiutl,  and  to  you  Q’o'mkmtis. 
This  is  1 Killer  Whale.’  I want  to  sell  it  at  once.”  Thus  speaking,  he 
gave  it  to  Q’eq’anqoala  and  said:  “Go  on!  Place  this  copper  before 
our  friends.”  He  did  so.  Then  a Kwakiutl  chief,  No'Lq’auLEla,  arose 
and  spoke  to  Q’e'q’anqoala : “ Bring  the  copper  to  me.”  He  did  so, 
and  Ko'Lq’auLEla  continued:  “Oh,  my  tribe!  my  friends!  Look  at  me. 
I,  Ko'Lq’auLEla,  took  the  copper  for  the  sake  of  your  name,  Kwakiutl, 
because  your  name  is  above  those  of  all  other  tribes  and  I do  not  want 
to  see  it  derided.  Kow,  brother-in-law  Ku'xnemis,  look  at  me.  I have 
nothing  with  which  to  pay  for  this  copper  to  which  I have  taken  a 
liking.  Therefore  I ask  you  and  my  wife  La'msitaso  to  buy  the  copper 
for  me.  That  is  all,  friends ! ” 

To  this  speech  Ma/a,  the  Koskimo,  replied:  “There  is  no  chief  like 
you,  No'Lq’auLEla.  You  are  the  first  one  to  treat  us  well.  You  carry 
your  tribe  on  your  back  by  the  strength  of  your  wealth.” 

When  he  had  finished,  To'qoamalis,  chief  of  the  Koskimo,  took  a pair 
of  blankets  and  spoke:  “True  is  your  word,  Ma/a!  No'Lq’auLEla  is 
our  chief,  for  he  gave  us  more  property  than  any  other  chief  of  the 
Kwakiutl.  Go  on,  No'Lq’auLEla ! buy  our  copper,”  and,  turning  to  his 
tribe,  he  concluded:  “Thus  I speak  for  our  chief,  Koskimo.”  Kow  he 
held  up  the  pair  of  blankets  and  said:  “Look  at  this,  friend!  This  is 
our  good  will  to  our  friends  on  the  other  side”  (meaning  the  Kwakiutl). 
“I  want  you  to  do  as  our  friend  G*o;qoade  did  who  brought  the  copper 
into  our  dancing  house.  Sell  it  for  blankets  and  give  them  away ! This 
pair  of  blankets  served  to  keep  our  copper  warm.  I took  it  off  in 
order  to  put  it  onto  some  of  our  friends  on  the  other  side.  This  is  for 
Ya/qois,  Se'ix,  and  Ho'LElite.  It  is  given  by  GWqoade,  the  daughter 
of  Ko'kwiLala.  That  is  all.” 

Then  Ma/a  and  G'aToTL  went  out,  and  immediately  the  que'qutsa 
began  to  beat  time  and  cried  “ yu ! ” all  at  the  same  time.  When  they  had 
done  so,  the  whistles  of  the  ha/mats’ a were  heard  on  the  roof  of  the 
house.  Then  Ma'a  returned,  carrying  a staff  to  which  am  imitation  of 
a scalp  was  attached.  He  was  followed  by  G’a'lolL.  Both  remained 
standing  at  the  door,  one  on  each  side,  and  Ma'a  said:  “Friends,  did 
you  hear  that  noise?  If  I am  not  mistaken,  something  dangerous  is 
near  us.  Keep  your  batons  in  readiness.” 

While  he  was  speaking  the  door  opened  and  the  ha/mats’a  Ya'xya- 
k-alagdlis  appeared,  crying  “ hap,  hap,  hap.”  His  face  was  blackened. 
He  wore  a head  ring  and  a neck  ring  of  red  cedar  bark.  His  neck 
ring  was  thin  and  set  at  two  places  with  long  fringes,  indicating  that 
this  was  the  first  initiation  of  the  new  ha/mats’a.  He  wore  no  blanket. 
He  was  accompanied  by  two  attendants,  who  carried  rattles.  One  of 
them  wore  a large  head  ring  of  red  and  white  cedar  bark,  the  ring  of 
the  ma'maq’a  of  the  helig-iliqala  of  the  La'Lasiqoala  tribe.1 

^ee  “ Indianische  Sagen  von  der  Nord-Pacifisclien  Kiiste  Amerikas,”  Berlin,  1895, 
page  187. 


THE  KWAKIUTL  INDIANS. 


573 


As  soon  as  he  entered  the  Koskimo  began  to  sing : 

1.  Your  dance  does  not  equal  mine,  for  I am  the  giver  of  magic,  hame. 

2.  I have  been  in  the  secret  room  of  BaxbakualauuXsi'wae,  the  giver  of  magic,  hame. 

3.  In  high  ecstasy  was  BaxbakualanuXsi'wae,  the  giver  of  magic,  hame,  when  I was 

near  him  and  uttered  his  cannibal  cry,  BaxbakualanuXsi'wae,  the  giver  of 
magic,  hame. 

The  second  song  was  as  follows : 

1.  I am  known  here  and  all  over  the  world,  I the  supernatural  one. 

2.  I am  renowned  here  and  all  over  the  world,  I the  supernatural  one. 

3.  You  are  the  great  oue  who  gives  coppers,  who  gives  property,  the  supernatural 

one. 

While  the  people  were  singing,  the  ha/mats’a  danced  in  the  doorway 
in  a squatting  position,  turned  around,  and  danced  toward  the  rear  of 
the  house.  Two  women  danced  for  him,  one  to  the  right,  one  to  the 
left  of  the  door.  When  he  had  reached  the  left  hand  rear  corner  of 
the  house,  Ma/a  and  G-a/lolL  stepped  forward  and  followed  him,  saying 
now  and  then:  “ Great  is  your  magical  power.  Do  not  be  too  violent 
in  your  fury,”  and  the  attendants  cried  “hoip,  hoip.”  Whenever  the 
singers  came  to  the  end  of  a line,  the  ha/mats’a  stopped  dancing  and 
cried  “hap.”  The  attendants  gathered  around  him  while  the  sound  of 
whistles  was  heard. 

After  these  two  songs  had  been  sung,  Ma/a  spoke:  “Friends,  we  can 
not  pacify  the  great  ha/mats’a  with  these  two  songs  and  by  means  of 
the  dance  of  these  two  women.  Now  arise,  women,  and  dance  with 
him.  If  we  should  not  succeed  in  pacifying  him,  we  should  always  be 
troubled  by  him.  We  should  not  be  able  to  eat  in  our  houses  on  account 
of  him.  Therefore,  friends,  sing  again.”  While  he  was  speaking,  the 
sound  of  the  whistles  continued  to  be  heard.  The  ha/mats7a  was  cry- 
ing “ hap.”  Then  A'Labala  stepped  up  to  him  and  dressed  him  with  a 
black  blanket  and  an  apron  and  strewed  eagle  down  on  his  hair. 

Now  the  singers  commenced  the  third  song: 

1.  You  are  lookiug  for  food,  great  magician,  you  are  looking  for  men,  ma  ha. 

2.  You  are  trying  to  eat  as  much  as  you  desire,  great  magician,  you  tear  oif  their 

skins,  ma  ha. 

3.  You  go  close  to  the  secret  room,  great  magician,  you  have  been  inside  the  secret 

room,  ma  ha. 

During  this  song  the  ha/mats7a  was  dancing  in  a standing  position. 
His  movements  were  becoming  less  violent  and  the  sounds  of  the 
whistles  were  becoming  fainter.  The  cries  “ hoip  ” of  his  attendants,  the 
singing  of  the  men,  and  the  dances  of  all  the  women  were  beginning 
to  pacify  him.  At  the  end  of  the  song  the  women  took  a rest.  They 
had  been  dancing,  their  backs  turned  toward  the  lire,  with  the  excep- 
tion of  two  who  were  standing  at  the  sides  of  the  door  and  who  stood 
turned  toward  the  fire. 

Now  the  speaker  G-a/sa  joined  Ma'a  and  G-a/lolL,  who  were  standing 
near  the  door.  Then  the  singers  began  the  fourth  song : 

1.  The  chief  cannibal  of  the  whole  world  cried  hap ; me,  hama. 

2.  Now  eat,  chief  cannibal  of  the  whole  world,  me  hama. 

3.  Do  not  try  to  hide  from  me,  me  hama, 


574 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


The  ha/mats’a  was  dancing  still  more  quietly,  first  to  the  right  and 
then  to  the  left  in  the  rear  of  the  house,  then  around  the  fire.  In  front 
of  the  fire  he  squatted  down,  crying  “hap.”  His  attendants  gathered 
around  him  and  shook  their  rattles,  crying  “hoip.”  Then,  with  the 
beginning  of  the  next  line  of  the  song,  he  continued  his  dance,  and 
after  four  circuits  he  disappeared  behind  the  curtain  which  was 
stretched  in  the  left-hand  rear  corner  of  the  house. 

Then  Ma/a,  who  was  still  standing  near  the  door  with  his  two  com- 
panions, spoke:  “Friends  on  the  other  side  of  the  house!  Now  our 
great  friend  is  pacified.”  While  he  was  speaking,  Ko'kwiLala,  the 
helper  in  the  winter  dance,  swept  the  floor  with  hemlock  twigs,  in 
order  to  prepare  it  for  the  following  dances. 

Then  A'Labala,  who  was  standing  in  the  right-hand  rear  corner  of 
the  house,  spoke:  “Take  care,  friends  on  the  other  side  of  the  house. 
Watch  my  customs,  for  they  were  given  to  my  tribe,  the  Koskimo,  and 
to  the  L’a'sq’enox  and  G’o'p’enox,  and  to  you  Gua'ts’enox,  by  the 
Maker  of  the  world.  Your  customs,  friends  on  the  other  side  of  the 
house,  differ  from  ours.  They  were  given  to  you.  I am  glad  to  see 
that  you  as  well  as  we  are  observing  onr  old  laws.  Now  Tabala, 
Ha'nk-ala,  Tsa/xis,  and  LoXuals,  go  and  fetch  our  chiefs  blankets.” 

The  four  men  left  the  house,  and  soon  they  returned  carrying  the 
blankets.  G^a'sa  took  one  pair  and  said:  “Ho'LElite  and  Nu'xnemis, 
look  at  these  blankets.  That  is  the  power  of  our  winter  dance.  The 
ha/mats’a  who  just  finished  dancing  is  Ya'xyak'a'lagdlis,  and  these 
blankets  will  be  given  away  in  honor  of  his  name  and  of  his  dance.” 
Then  he  gave  the  first  blanket  to  Ya/qois,  the  chief  ha/mats’a  of  the 
Kwakiutl,  and  then  to  the  other  men  in  order.  When  all  were  dis- 
tributed, Ho'LElite  spoke : “ Friends,  did  you  hear  what  G*a/sa  said  ? 
Everything  he  said  is  true,  except  one  remark,  in  which  he  is  mis- 
taken. You  said  that  your  customs  in  regard  to  dances  and  festivals 
differ  from  ours ; remember,  we  are  all  of  the  same  name.  That  is  all. 
Thank  you  for  this  red  cedar  bark  that  you  gave  us  (meaning  the 
blanket).  Now  I have  finished.” 

Then  Qoa/qoaxsfala  walked  around  the  fire,  apparently  without  any 
purpose,  but  in  fact  as  a signal  for  the  dancers,  who  were  standing  out 
side  the  house,  to  enter.  The  door  flung  open,  Ma/a,  G-a/lolL  and 
G*a/sa,  who  remained  standing  near  the  door,  gave  a signal  to  the 
singers,  who  began  to  beat  time  very  rapidly.  A song  was  heard  out- 
side the  house,  and  now  a dancer,  K’ue'daqala  by  name,  entered  with 
quick,  short  steps,  his  hands  stretched  backward  under  his  blanket, 
his  face  blackened.  He  was  both  ma'maq’a  and  ha'mshamtsEs.  As 
soon  as  he  had  come  to  the  rear  of  the  house,  the  singers  ceased  beat- 
ing the  boards.  Ma'a  said : “ Thank  you,  friend,  for  coming  to  this 
dance.” 

Then  G*a/loiL  gave  another  signal,  and  a female  dancer,  T’eAa  by 
name,  entered,  her  hands  stretched  forward.  Again  the  singers  stopped 


THE  KWAKIUTL  INDIANS. 


575 


beating  the  boards.  G*a/loiL  gave  another  signal,  and  a second 
woman,  G-a'lg-amqas  by  name,  entered,  and  danced  in  the  same  man- 
ner. She  stepped  up  to  T’e'La,  and  the  singers  stopped  beating  the 
planks. 

Then  G*a/sa  spoke : “ Friends,  look  at  these  two  women.  They  are 
the  mothers  of  my  tribe.  They  carry  all  the  winter  dances.  Whenever 
these  two  appear,  we  must  be  on  the  alert,  for  they  are  always  followed 
by  other  dancers.7’  When  he  had  finished,  LoXoaxstaak11  told  the 
people  to  be  careful,  becausehe  had  heard  the  voice  of  Q’e'q’anqoala,  the 
Ba'baqoayuL  (soul  catcher).1 

As  soon  as  he  entered,  all  the  dancers  stooped  down  as  though  they 
were  trying  to  hide,  for  fear  that  Ba/baqoayuL  might  take  their  souls. 
His  aunt,  Po'sqaas,  took  a position  to  the  left  of  the  door,  and  while  he 
was  walking  around  the  fire  she  danced  the  hafinshaintsEs  dance. 
When  he  came  back  to  the  place  in  front  of  the  fire,  all  the  people 
arose  and  he  lifted  his  hands,  the  palms  being  held  cloke  together. 
This  was  repeated  four  times.  When  he  stopped  the  fourth  time  in 
front  of  the  fire,  he  opened  his  palms  and  the  “soul77  was  seen  between 
them.  The  speaker  told  the  singers  to  stop  beating  the  boards,  and 
Ma'a  went  about  among  the  people  in  order  to  find  whose  soul  the 
dancer  had  caught.  After  a short  while  he  turned  to  the  people  and 
said:  “My  friend  Q’e'q’anqoala  has  captured  the  soul  of  our  chief 
La/qolag*ilis.”  Then  the  latter  stepped  forward  and  asked  the  singers 
to  sing  the  song  of  Q’e'q’anqoala  and  of  his  aunt  Po'sqaas. 

They  sang  as  follows : 

1.  I go  to  obtain  your  cedar  bark  ornaments,  ha,  your  cedar  bark  ornaments,  hame 

me,  hame,  hame,  hame  he  hama  he  he  hama. 

2.  Now  your  dance  will  shine  throughout  the  world  wherever  a winter  dance  is  held ; 

Giver  of  light,  hame  me,  hama. 

During  this  song  the  Ba'baqoayuL  was  dancing  on  one  spot  in 
the  rear  of  the  fire  in  a bent  position.  Po'sqaas  was  dancing  the 
ha'mshamtsEs  dance  to  the  left  of  the  door,  and  G-a/sa  and  G-a'loiL, 
the  greatest  ma/maq’a  among  the  Koskimo,  danced  around  the  fire, 
their  elbows  held  close  to  their  sides,  forearms  held  forward,  hands 
closed,  and  thumbs  stretched  upward. 

At  the  end  of  the  dance  La/qolagdlis  spoke  to  QVq’anqoala : “ Come, 
my  son  ! I thank  you  for  bringing  back  my  soul,  for  I am  saved  now.” 
Then  he  called  the  two  chief  speakers,  A'Labala  and  Lo'Xoaxstaak11. 
They  followed  his  summons,  and  he  gave  them  a stick  about  2 feet 
long.  Lo'Xoaxstaak11  held  it  up  and  said,  “ Oh,  friends  on  the  other 

JThis  is  a tVX'uit  dance  of  the  G'o'p’endx.  The  dancer  is  supposed  to  be  able  to 
catch  the  absent  souls  of  people.  He  dances,  his  palms  held  close  to  the  body,  like  the 
ma'mafa.  (See  p.  560.)  A string  is  fastened  to  his  middle  finger  and  a small  ball  of 
eagle  down  is  fastened  to  the  middle  of  the  string.  When  he  opens  his  hands,  the  ball 
is  seen  in  the  middle  between  them,  the  ends  of  the  string  being  tied  to  the  middle 
fingers.  It  represents  the  soul  that  the  dancer  has  captured.  The  details  of  this 
dance  are  described  in  the  text.  (See  also  p.  56 L.) 


576 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


side.  I am  glad  that  we  have  someone  who  can  catch  our  souls  when 
they  fly  away  from  us.  Now  I will  pay  you,  Kwakiutl.  Thus  I speak 
for  La/qolagdlis.  Here  are  blankets  for  you,  Gue'tEla.  Here  are  blan- 
kets for  you,  Q’o'moyue ; blankets  for  you,  Walas  Kwakiutl;  blankets 
for  you,  Q’o'mkTitis.  This  is  a canoe  worth  100  blankets,  given  by 
Q’e'q’anqoala,  the  son  of  La/qolag-ilis. 

To  this  La'mg-ala,  a Walas  Kwakiutl,  replied:  “ Thank  you  for  your 
good  words,  A/Labala.  Did  you  say  that  you  have  someone  who  under- 
stands to  catch  the  souls  of  men?’7  “Yes,”  shouted  many  of  the 
Koskimo.  He  continued:  “Thank  you.  We  might  need  your  help.” 
Then,  turning  to  the  Kwakiutl:  “ Friends,  I ask  you  to  keep  yourselves 
in  readiness,  for  the  Koskimo  are  like  to  a vast  mountain  of  wealth,  from 
which  rocks  are  rolling  down  all  the  time.  If  we  do  not  defend  our- 
selves, we  shall  be  buried  by  their  property.  Behold,  friends ! They 
are  dancing  and  making  merry  day  after  day.  But  we  are  not  doing 
so.  Remember,  this  is  our  village  and  our  battlefield.  If  we  do  not 
open  our  eyes  and  awake,  we  shall  lose  our  high  rank.  Remember, 
Kwakiutl,  we  have  never  been  vanquished  by  another  tribe.  That  is 
all.” 

Now  a loud  clapping  was  heard  outside  the  house.  The  walls  were 
beaten  with  sticks,  and  Ma/a  gave  a signal  to  the  singers  to  beat  the 
boards.  The  door  opened  and  a man  entered,  the  chief  gue'so,  fol- 
lowed by  four  other  members  of  the  group.1  They  hopped  into  the 
house  holding  their  feet  close  together.  When  they  had  reached 
the  rear  of  the  house,  Ma/a,  who  was  holding  a gun  in  place  of  a 
speaker’s  staff,  spoke:  “Friends,  why  should  you  not  come  to  join  our 
dance?”  and,  turning  to  the  Kwakiutl,  he  continued:  “Friends  on  the 
other  side,  these  are  our  friends  the  ‘ Pigs ! r Formerly  they  were 
‘ Sea  Lions.’  This  is  to  inform  you.”  Next,  LoXoaxstaak’1  said  to  the 
chief  singer,  Qoa/qoaxst’ala : “Look  out!  our  friends  are  very  merry 
and  they  wish  to  dance.”  The  inaa'inyaenox2  commenced  a soug,  which 
was  taken  up  by  the  singers : 

1.  What  is  on  the  enemy's  blanket?  Wiee. 

2.  War  is  on  the  enemy’s  blanket.  Wiee. 

The  women  arose  and  danced,  raising  their  forearms  and  holding  up 
their  first  fingers..  This  song  and  dance  were  repeated  four  times.  At 
the  end  of  the  song  the  singers  beat  time  very  rapidly  and  then  the 
ha/mats’a’s  cry  “hap”  was  heard  in  the  secret  room. 

This  song  and  dance  were  given  by  the  wolves  to  Ya'xstaL,  and  are 
used  by  his  descendants  to  excite  the  ha/mats’a  and  warriors  who  go 
out  to  battle. 

When  the  singers  commenced  the  song  for  the  third  time,  G*a/lolL,  who 

JThis  is  one  of  the  que'qutsa  groups  of  the  Koskimo.  Their  present  name  is 
gue'guso  (pigs)  while  formerly  they  were  called  i/e'JLexEn  (sea  lions). 

2 Another  of  the  que'qutsa  societies  of  the  Koskimo,  embracing  the  daughters  of 
the  chiefs — those  who  must  not  be  maltreated. 


THE  KWAKIUTL  INDIANS. 


577 


represented  Ya'xstaL  himself,  joined  the  dance  of  the  women.  He 
jumped  about  in  a circle  in  the  wildest  fashion.  Then  the  lia/matsVs 
cries  “ hap,”  and  the  quieting  calls  of  his  attendants,  “ hoip,”  were 
heard. 

After  the  song  and  dance  had  been  repeated  a fourth  time,  Xule'qnlEls, 
a G-o'p’enox,  and  his  speaker,  He'g-ilaxse'k-a,  arose.  The  latter  took 
up  some  blankets  and  spoke:  “Yes,  friends  on  the  other  side! 
Kwakiutl ! I have  my  ways  of  celebrating  the  winter  ceremonial,  and 
you  have  your  own,  different  from  mine.  Thus  it  was  given  to  you  by 
the  Giver  of  Dances.  I should  like  to  have  your  dances,  but  I am 
afraid  to  change  my  ways,  for  they  were  given  to  me  in  the  beginning 
of  the  world.  This  song  which  we  just  sang  was  given  by  the  wolves 
to  Ya'xstaL  at  -Qa/yaiL  when  he  received  the  death  bringer  with  which 
he  was  to  burn  his  enemies  or  to  transform  them  into  stone  or  ashes. 
We  are  of  Ya'xstaL’s  blood.  But  instead  of  fighting  our  enemies  with 
his  death  bringer,  we  fight  with  these  blankets  and  other  kinds  of  prop- 
erty.” Then  he  distributed  the  blankets  among  the  Kwakiutl. 

Next,  two  young  men  whose  faces  were  blackened  stepped  forward, 
and  one  of  them  said : “I  am  going  to  look  for  my  friend.”  He  went  out 
and  brought  an  old  woman  to  the  middle  of  the  house,  where  she  sat 
down.  Qoa/qoaxst?ala  said : “Take  care,  friends!  this  woman  is  going 
to  dance.  Prepare  to  sing  her  song.”  Then  the  singers  beat  the  boards 
rapidly  and  cried  “yu.”  The  beating  and  the  cry  were  repeated  at  a 
given  signal.  As  soon  as  the  second  cry  died  away,  another  ha/inats’a 
was  heard  outside  the  house. 

AAabala,  who  had  left  the  house  a short  while  ago,  reentered,  stood 
in  the  doorway,  and  spoke : “Look  at  me,  friends!  Now  take  care!  I 
have  seen  something  outside  the  house  that  looks  as  though  it  was  not 
going  to  have  mercy  upon  anybody.  Thus  I tell  you.  Now  beat  the 
boards!”  Then  the  singers  began  to  beat  time,  the  door  opened,  and 
the  ha/mats’a  entered  crying  “hap,  hap,  hap.”  At  once  everybody 
commenced  to  sing  his  or  her  secret  song.  A/Labala  went  up  to  the 
ha/inats’a  with  short  quick  steps  and  then  back  again,  saying:  “Gome 
friend,  that  this  great  tribe  may  see  you.”  Then  he  turned  around 
and  said:  “This  is  Ts’a/qoalag-ilis,  our  chief  ha/mats?a.  Take  care, 
friends;  he  devours  property,  not  flesh  of  men.” 

Now  the  ha/mats’a  came  down  to  the  middle  of  the  house.  He  wore 
a head  ring  of  red  cedar  bark,  to  the  back  and  front  of  which  branches 
of  balsam  pine  about  six  inches  long  were  attached  crosswise.  His 
neck  ring  was  worn  over  the  left  shoulder  and  under  the  right  arm.  It 
was  made  of  red  cedar  bark  wound  with  branches  of  balsam  pine.  The 
women  began  to  dance  for  him.  He  danced,  squatting,  toward  the 
rear  of  the  house,  and  was  joined  by  the  old  hahnats’as,  Ta'nisk-asb, 
Qoa'ts’Emya,  LemElxaflagdlis,  Na'noqois,  and  WeqoamiLaffagdlis,  who 
entered  one  by  one,  crying  “hap.”  Finally  they  reached  the  rear  of  the 
house,  where  they  remained  standing  in  a row,  their  backs  turned 
NAT  MUS  95 37 


578 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


toward  the  fire.  Then  the  door  opened  and  the  new  ha/mats’a,  who 
had  been  brought  back  in  the  morning,  entered,  crying  “hap,  hap, 
hap.”  He  wore  a head  ring  made  of  balsam  pine,  to  which  a long 
plaited  trail  of  the  same  material  was  attached.  The  trail  reached 
down  to  the  small  of  the  back.  Three  white  rings  about  one  inch  in 
diameter,  made  of  cedar  withs,  the  bark  of  which  had  been  stripped 
off,  were  attached  to  the  ring  over  his  forehead  and  one  on  each  side, 
all  on  the  same  level.  Another  ring  of  the  same  material  was  attached 
to  the  trail.  He  wore  an  apron  made  of  balsam  pine;  his  neck  ring, 
arm  rings,  and  anklets  were  made  of  the  same  material.  He  was  held 
by  one  assistant. 

As  soon  as  he  entered,  the  singers  began  to  beat  the  boards,  and  con- 
tinued until  he  had  come  down  to  the  floor.  Then  they  began  to  sing 
his  first  song: 

1.  He  cried  hap  for  me,  the  only  great  being  in  our  world. 

2.  BaxbakualanuXsT'wae  cried  hap  for  me,  the  great  cannibal  of  our  world. 

3.  BaxbakualanuXsi'wae  taught  me  to  devour  lives,  the  great  cannibal  of  our  world. 

He  danced  to  this  song,  and  Ts’a/qoalag-ilis,  tlm  chief  ha/mats?a, 
danced  forward  to  meet  him,  cried  “hap  !”  and  attacked  the  people. 

After  this  song  LoXuaxstaaku  arose  in  the  rear  of  the  house,  holding 
a copper,  and  a woman  named  Ayaqa,  brought  a strip  of  calico  about 
40  yards  long,  which  was  unrolled  and  spread  in  a circle  around  the  fire. 
Then  the  singers  began  the  second  song: 

1.  I give  you  to  eat,  I give  you  to  eat,  good  cannibal. 

2.  I pacify  you  with  property,  I pacify  you  with  property,  good  caunibal. 

3.  I push  down  your  wildness,  I push  down  your  wildness,  good  cannibal. 

4.  I give  you  lives  to  eat,  I give  you  lives  to  eat,  good  cannibal. 

The  lia/inats;as  were  dancing  between  the  calico  and  the  fire  in  a 
squatting  position.  Their  attendants  tried’ to  pacify  them  with  cries  of 
“hoip,”  and  women  danced  for  them.  Then  A'Labala  stepped  forward 
and  asked  the  singers  to  wait  before  beginning  the  third  song.  He 
called  his  speaker,  To'qoamalis,  who  took  his  position  in  the  rear  of  the 
house,  and  addressed  the  people  as  follows: 

“Yes,  my  children,  I am  the  storage  box  of  your  thoughts,  for  I 
remember  all  the  old  tales,  and  in  my  young  days  I have  seen  things 
which  you  young  people  never  heard  of.  It  is  good  that  there  is  one 
old  man  who  can  show  you  all  these  things.  Now  I will  go  to  this 
ha'mats’a  and  take  off  the  dress  that  BaxbakualanuXsI'wae  put  on 
him.”  He  stepped  up  to  the  ha/mats’a,  who  was  standing  in  the  rear 
of  the  house,  and  took  off  his  head  ring  first,  then  his  neck  ring.  He 
cut  off  the  arm  rings  and  anklets  and  gave  them  to  LamaLa.  Then  he 
asked  Nau'aqala  to  bring  blankets  and  ornaments  made  of  red  cedar 
bark.  Nau'aqala  went  to  fetch  them  from  his  bedroom,  and  when  lie 
had  returned,  To'qoamalis  proceeded  to  dress  the  ha/mats’a.  He  put  the 
blue  blanket  over  his  back  and  cedar  bark  ornaments  on  his  head, 
his  neck,  his  arms,  and  around  his  ankles.  He  also  tied  a dancing 


THE  KWAKIUTL  INDIANS.  579 

apron  around  Ms  waist  and  strewed  eagle  down  on  his  head.  Then 
he  said,  “It  is  done.” 

The  young  ha'mats’a  cried  “hap,  hap,  hap,”  and  attacked  the  people. 
How  the  singers  began  the  third  song: 

1.  The  cedar  bark  of  the  winter  dance  is  all  around  the  world. 

2.  The  eagle  down  of  the  winter  dance  is  all  around  the  world. 

3.  The  songs  of  the  winter  dance  are  most  powerful  all  around  the  world. 

4.  For  me  cried  hap,  BaxbakualanuXsFwae,  the  great  magician. 

During  this  song  all  the  ha/mats’as  were  dancing  in  standing  pos- 
ture and  the  women  were  dancing  for  them.  At  the  end  of  the  song 
they  all  stood  in  the  rear  of  the  house. 

After  a short  while  the  singers  beat  time  again  and  commenced  the 
fourth  song  of  the  ha/mats’a: 

1.  Nobody  can  imitate  your  cries,  great  BaxbakualanuXskwae,  great  magician, 

liama  ma. 

Nobody  can  imitate  your  nance,  great  BaxbakualanuXskwae,  great  magician, 
hama  ma. 

2.  I was  taken  into  the  room  of  BaxbakualanuXsF  wae,  the  great  magician,  hama  ma. 
I received  the  red  cedar  bark  of  BaxbakualanuXsFwae,  the  great  magician, 

hama  ma. 

3.  He  put  into  me  all  the  dances,  BaxbakualanuXsFwae,  the  great  magician, 

hama  ma. 

3.  The  cannibal  pole  is  shaking,  the  pole  of  BaxbakualanuXsFwae,  the  great  magi- 
cian, hama  ma. 

When  the  song  was  nearly  ended,  the  ha/mats’as  disappeared  in  their 
secret  room,  led  by  Ts’a/qoalag-ilis. 

Then  Lo7Xuaxstaaku  stepped  forward,  still  holding  his  copper,  and 
spoke:  “How  that  is  the  end,  friends.  You  have  seen  my  way.  This 
is  my  way.”  With  this  he  pointed  to  his  copper.  “ This  is  the  price 
of  a ha/mats?a.  I do  not  mean  you,  Kwakiutl;  I mean  my  rivals  in  my 
own  tribe.  They  all  want  to  have  lia/inats’as,  but  they  want  to  show 
them  cheaply  without  giving  away  a copper.”  The  Kwakiutl  inter- 
rupted him  now  and  then  with  cries:  “That  is  true!  your  words  are 
true, chief ! ” Lo7Xuaxstaak"  continued : “ Our  ha/mats’a  touched  some 
of  you,  Kwakiutl,  in  his  excitement  and  hurt  you.  This  copper,  the 
face  of  which  is  engraved  with  the  design  of  the  grizzly  bear,  is  worth 
500  blankets.  It  is  to  pay  those  whom  our  great  triend  has  bitten. 
You,  Lahnsitaso,  were  bitten  this  morning.  Here  are  50  blankets  of 
this  copper  for  you;  and  you,  Ho7lElite,  50  blankets  of  this  copper  for 
you;  and  you,  G-adgmlXola,  50  blankets  of  this  copper  for  you;  and 
you,  HoYq’auLEla,  50  blankets  of  this  copper  for  you;  and  you,  K*ex*, 
50  blankets  of  this  copper  for  you;  and  you,  Qa/wiqam,  50  blankets 
of  this  copper  for  you;  and  you,  Hu7xnemis,  50  blankets  of  this  cop- 
per for  you;  and  you,  Me7qoadaxstala,  50  blankets  of  this  copper  for 
you;  and  you,  K*a/qoLe,  50  blankets  of  this  copper  for  you;  and  you, 
La7 mg  ala,  50  blankets  of  this  copper  for  you.  That  is  all.  How, 
Qoa/yuqoalag-ilis,  I will  ask  you  to  come  and  tell  the  story  of  the 


580 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


ha/mats’a,  for  the  tribes  say  we  own  neither  ha/mats’a  nor  other  dances. 
That  is  all.” 

Then  Qoa/yuqoalag'ilis  came  forward.  The  Koskimo  placed  a box 
for  him  in  the  rear  of  the  house.  He  sat  down  and  began: 

“ Be  quiet  and  listen  to  me,  for  I am  going  to  tell  you  the  story 
of  this  ha/mats’a,  which  will  show  you  that  we,  Koskimo,  G-o'p’enox, 
L’a'sq’enox,  and  Gua'ts’enox,  do  not  steal  winter  dances  from  you, 
Kwakiutl,  nor  from  other  tribes.  All  the  winter  dances  were  given  bo 
us  by  the  Maker  of  Man  in  the  beginning  of  the  world.  The  ha/mats’a 
whom  we  have  seen  to-night  comes  from  Hai'alik-awe.  All  the  clans 
Hahai'alik*awe  of  all  the  tribes  in  the  whole  world  have  a right  to  a 
ha'mats’a  with  raven  whistle,  for  Hakalik'awe  had  a ha/mats’a  with  a 
raven  whistle  at  the  place  which  we  name  Lala/t’e,  and  his  ha/mats’a’s 
name  was  Qa/yuL  and  Qalama/lagdlis.  We  may  use  either  of  these 
names  for  our  lia/mats’a.  We  will  call  him  now  Qa/yuL,  and  if  he 
should  be  taken  away  again  by  BaxbakualanuXsi'wae,  we  will  call  him 
Qalama/lag-ilis.  You,  Kwakiutl,  you  always  use  hemlock  branches  for 
your  ha'mats’a,  for  it  was  gi  ven  to  you  in  this  manner  by  the  Maker 
of  Man.  It  was  given  to  us  to  use  balsam  pine  for  our  ha'mats’a  and 
for  all  other  dances.  The  white  rings  you  saw  on  the  head  ornaments 
of  our  lia/mats’a  are  the  same  as  worn  by  BaxbakualanuXsi'wae  when 
he  was  excited.  The  attendants  passed  ropes  through  these  rings  to 
tie  him  down,  that  he  might  not  leave  his  house  and  devour  his  people 5 
and  the  trail  of  his  ornament  served  for  his  attendant  to  hold  him. 
You  also  saw  the  streaks  of  blood  running  from  the  corners  of  his  mouth 
to  the  lobes  of  the  ears.  They  indicate  that  BaxbakualanuXsi'wae 
lives  on  nothing  but  blood.  That  is  all.” 

He  had  hardly  finished  when  Lo'Xoals,  a Koskimo,  came  forward 
from  the  rear  of  the  house  holding  a single  blanket.  He  spoke:  “Look 
at  me.  See  this  single  blanket!  I am  tired  of  waiting  so  long  at  this 
place  for  one  solitary  single  blanket.  Xow  I will  show  you  that  I do 
not  care  for  a single  blanket.”  He  tore  it,  threw  it  into  the  fire,  and 
continued:  “Now  you  who  saw  it  in  the  fire  take  good  care  to  keep 
it  warm.  All  single  blankets  will  go  there  hereafter.  We  are  too 
great  a tribe  to  receive  only  a single  blanket  each.”  Then  LamaLa 
went  up  to  him  and  stopped  him.  He  held  six  button  blankets  and 
said: 

“Friends  on  the  other  side!  Each  of  us  has  something  to  say. 
Lo'Xoals  has  had  his  way  when  he  wanted  to  burn  this  blanket. 
Kwakiutl,  he  did  not  mean  you.  Do  not  feel  offended  by  it.  I have 
rivals  in  my  own  tribe  and  I must  wake  them  up  from  their  sleep,  for 
they  do  not  see  that  it  is  hard  work  for  us  to  fight  you  with  property. 
We  are  the  Koskimo,  who  have  never  been  vanquished  by  any  tribe, 
neither  in  wars  of  blood  nor  in  wars  of  property.  Now  I will  ask  you 
one  thing:  Treat  me  well.  Of  olden  times  the  Kwakiutl  illtreated  my 
forefathers  and  fought  them  so  that  the  blood  ran  over  the  ground. 


THE  KWAKIUTL  INDIANS. 


581 


Now  we  fight  with  button  blankets. and  other  kinds  of  property,  smil- 
ing at  each  other.  Oh,  how  good  is  the  new  time!  That  is  all.  Now 
to  these  button  blankets.  Son-in-law,  come  and  stand  where  I can  see 
you.”  Then  Nan/aqala  stepped  to  the  front  of  the  house  and  said: 
“Here  I am.”  LamaLa  continued:  “I  understand  that  you  have  no 
button  blankets.  Therefore,  I thought  I might  bring  you  some.  Here 
are  six  button  blankets.  I took  them  from  your  wife’s  back.  Now 
come  and  take  them,  and  do  with  them  as  you  please.” 

Nau'aqala  asked:  “What  did  you  say,  my  father-in-law?”  Then 
LamaLa  repeated:  “I  told  you,  son-in-law,  that  I had  taken  six  button 
blankets  from  the  back  of  your  wife  and  I give  them  to  you.  Now 
come  and  take  them.”  Nau'aqala  spoke : “ I will  go,  for  I am  not  afraid 
to  go  and  take  them.  I have  given  away  button  blankets  three*  times, 
and  this  will  be  the  fourth  time.  Now  I will  go  and  take  them.”  Then 
he  went  back  to  his  place  and  said,  turning  toward  the  people:  “Oh, 
my  tribe!  look  at  these  button  blankets  and  see  what  I am  going  to  do 
with  them.  One  of  you  shall  tell  me  what  to  do  with  them.” 

To  this  the  old  woman  who  was  standing  near  the  door  replied : “My 
tribe,  I want  to  say  a few  words  to  you,  and  particularly  to  my  son,  who 
asked  to  be  told  what  to  do  with  these  blankets.  Friends,  you  all 
know  my  name.  You  knew  my  father  and  you  know  what  he  did  with 
his  property.  He  was  thoughtless  aud  did  not  care  what  he  did.  He 
gave  away  or  killed  slaves ; he  gave  away  or  burnt  his  canoes  in  the 
fire  of  the  feast  house ; he  gave  away  sea-otter  skins  to  his  rivals  in 
his  own  tribe  or  to  chiefs  of  other  tribes,  or  he  cut  them  to  pieces.  You 
know  that  it  is  true  what  I say.  This,  my  son,  is  the  road  your  father 
laid  out  for  you  and  on  which  you  must  walk.  Your  father  was  no 
common  man;  he  was  a true  chief  among  the  Koskimo.  Do  as  your 
father  did.  Either  tear  up  these  button  blankets  or  give  them  to  our 
rival  tribe,  the  Kwakiutl.  That  is  all.” 

Lo'Xoaxstaak11  arose  when  she  had  finished  and  asked:  “Did  you 
hear  what  our  aunt  said?  I will  not  block  the  road  my  father  laid  out 
for  me.  I will  not  break  the  law  that  my  chief  laid  down  for  me.  I 
will  give  these  button  blankets  to  my  rivals,  the  Kwakiutl.  The  war 
that  we  are  having  now  is  sweet  and  strong.”  Then  he  gave  the  but- 
ton blankets  to  the  Kwakiutl;  first  to  Ya/qois,  then  to  the  old  chiefs. 
After  they  had  been  distributed,  Lo'Xoaxstaak11  said:  “These  button 
blankets  are  the  red  cedar  bark  that  I have  taken  from  the  head  of  my 
ha/mats’a.  Next  the  men  brought  him  40  white  blankets,  and  he  said: 
“These  white  blankets  are  the  red  cedar  bark  that  I have  taken  from 
the  neck  of  my  ha'mats’a  and  I am  going  to  give  them  to  you,  Kwa- 
kiutl.” He  distributed  them  among  the  next  in  rank.  Then  he  took 
the  calico  and  said:  “This  is  the  red  cedar  bark  that  I took  from  the 
arms  and  from  the  legs  of  my  lia/mats’a.  I will  give  it  to  the  women 
and  children  of  the  Kwakiutl.”  TheyTore  it  up,  and  gave  the  pieces 
to  the  Kwakiutl — first  to  Ya/qois,  then  to  the  others. 


582 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


With  this  the  festival  ended,  and  the  people  went  home.  It  was 
about  1 a.  m.  when  the  calico  was  distributed. 

About  7 p.  m.,  November  23,110'LElite  sent  two  messengers, NoLElag’- 
ilis  and  KuLE'm,  to  call  all  the  men  of  the  Kwakiutl  tribe  to  a secret 
meeting  to  be  held  in  his  house.  The  messengers  went  into  all  the 
houses  and  called  the  Kwakiutl,  whispering  into  their  ears.  They 
slipped  out  at  once  and  went  to  Ho'LElite’s  house.  Great  care  was 
taken  that  the  Na/q’oaqtoq  and  Koskimo  should  not  know  what  was 
going  on.  As  soon  as  the  men  were  assembled,  Ho'LElite  arose  and 
spoke:  “Indeed,  friends,  you  have  gratified  my  wishes,  for  you  all 
have  come  as  soon  as  I sent  for  you.  I am  glad  that  you  are  keeping 
the  laws  that  were  handed  down  to  us  from  the  times  of  our  grand- 
fathers. You  will  have  observed  that  the  Koskimo  are  likely  to  beat 
us  in  our  war  with  property.  Therefore  I ask  you  not  to  be  asleep, 
else  the  Koskimo  will  surely  walk  right  over  us,  friends!  Wake  up 
and  open  your  eyes.  Do  not  let  the  wealth  of  our  rivals  blind  you. 
Our  ancestors  have  never  been  vanquished.  I do  not  want  to  see  the 
Koskimo  vanquish  us  now.  I have  called  you  in  order  to  inform  you 
that  my  chief  Se/g*ag/ila  is  going  to  give  a winter  dance,  and  I will  ask 
you,  my  friends,  how  we  shall  begin  it.  I want  you  to  decide  in  regard 
to  the  manner  of  beginning  the  ceremonial.  That  is  what  I wanted  to 
say  to  you,  wa,  wa.” 

The  men  remained  silent  for  about  twenty  minutes.  Then  Nu'xnemis, 
the  chief  of  the  winter  dance  of  the  Kue'xa,  arose  and  said:  “Indeed, 
IIo'LElite,  you  are  always  keeping  the  rules  laid  down  in  the  times  of 
our  ancestors,  for  instead  of  beginning  the  ceremonial  without  notify- 
ing us,  as  others  might  do,  you  tell  us  of  your  plans  and  secrets  as  our 
forefathers  used  to  do;  and  that  is  the  right  way.”  Then  he  turned  to 
his  own  tribe  the  Kue'xa  and  said : “ Don’t  you  feel  glad  that  my  friend 
Ho'EElite,  the  great  magician,  was  kind  enough  not  to  keep  his  secrets, 
but  let  us  share  them'?  You  also,  Lafing-ala,  ought  to  feel  proud  that 
he  invited  us  to  know  of  his  plans.  Do  you  not  think  that  it  would 
be  best  if  the  clothing  of  Wina/lag-ilis  were  brought  out  by  this  secret 
meeting0?  You  all  know  what  I mean.  The  clothing  of  Wina/lagdlis 
consists  of  hemlock  branches,  and  his  play  is  AmE'lk11  or  NuLanuLdEls. 
The  AmE'lk11  must  be  shown  at  daybreak,  and  the  NuLanuLdEls  may 
be  shown  at  any  time  of  the  day.  I think  it  would  be  best  to  surprise 
our  rivals,  the  Koskimo.  Let  us  call  all  the  men  and  women  before 
daybreak  to-morrow  and  go  to  the  meeting  place  which  our  forefatlieis 
used  for  the  AmEdk".  You  all  know  the  rules  of  the  ArnE'lk11.  That 
is  all.  Now  I have  finished.” 

Then  Ho'LElite  replied:  “Thank  you,  my  friends.  Thank  you, 
Nu'xnemis,  for  what  you  said.  You  are  the  only  one  who  wants  to 
keep  the  rules  that  were  given  to  us  by  our  ancestors.  Friends,  I want 
to  ask  you  one  favor:  Arise  before  daylight.  Tell  me  now  if  you  are 
willing  to  do  so  and  to  follow  our  friend  Nu'xnemis’s  advice.  Let  the 


THE  KWAKIUTL  INDIANS. 


583 


women  of  your  households  know  about  this  secret  meeting  and  keep  it 
from  our  rivals,  the  Koskimo.  I will  send  two  messengers  in  the 
morning  to  call  you  by  tapping  at  your  bedrooms.  That  is  all.  Now 
go  home  and  have  a short  sleep.”  After  this  speech  all  went  home. 

November  24. — Early  in  the  morning  Ho/LElite  sent  NoLElag'ilis  and 
KuLE'm  to  call  all  the  Kwakiutl.  They  went  around  and  tapped  at 
the  outside  walls  of  the  bedrooms.  The  people  arose  at  once  and  went 
out  to  the  place  where  the  AmETk11  is  held.  This  place  is  about  150 
yards  from  the  east  end  of  the  village  at  the  edge  of  the  woods.  The 
men  went  into  the  woods  and  cut  off  hemlock  branches,  from  which 
they  made  head  rings  and  neck  rings;  with  these  they  adorned  them- 
selves, as  weJl  as  the  women.  Then  Nu'xnemis  told  the  people  to  get 
ready  for  the  first  cry,  and  he  himself  sung  out  “ho”  as  loud  as  he 
could.  Then  all  the  people  beat  the  boards,  which  were  laid  down  at 
the  place  of  meeting,  and  cried  “he.”  Next  all  the  ha'mshamtsEs 
dancers — all  of  whom  are  women — were  tied  to  a rope  which  was  held 
by  a man.  The  bear  dancers  were  tied  together  in  the  same  manner, 
and  led  by  another  man,  one  of  the  old  bear  dancers.  Then  the 
hahnshamtsEs  began  to  cry  “wip  wip”  and  the  bears  began  to  growl. 
Now  Nu/xnemis  sang  out  again,  “ho;”  the  people  beat  the  boards  and 
responded  by  the  cry  “he.”  The  ha'mshamtsEs  began  to  cry  “wip,” 
the  bears  began  to  growl  “wo  ha,”  and  the  fool  dancers  cried  “will!'.” 
After  a short  interval,  Nu'xnemis  sang  out  “ho”  for  the  third  time, 
and  the  people  and  the  dancers  responded  in  the  same  manner.  Then, 
while  the  men  were  still  beating  time  and  while  the  various  cries  were 
being  uttered,  Ya/qois,  the  chief  ha'mats’a,  rushed  out  of  the  woods, 
followed  by  his  six  attendants,  and  crying  “hap,  hap,  hap,  hap.”  He 
ran  about  among  the  people  in  a state  of  great  excitement. 

Nu'xnemis  spoke:  “Let  me  ask  you  what  has  happened  that  Ya'qois 
should  be  so  much  excited?”  Ho'LElite  replied : “We  have  not  been 
in  the  house  of  BaxbakualanuXsTwae.  But  our  friend  Ya/qois  has 
passed  through  it  eight  times.  He  knows  all  that  belongs  to  the  win- 
ter dance,  and  he  knows  all  the  mistakes  that  may  be  made.  Ya/qois 
has  seen  that  we  have  no  chief  t’o'X’uit  among  us  to  throw  the  super- 
natural power  among  our  friends  here,  and  that  has  made  him  wild. 
Therefore  I will  call  someone  who  has  been  tWX’uit  four  times  to  be 
our  chief  in  the  AmE'lk11.”  Then  he  called  a woman,  saying:  “Come, 
Wilanqoa'lag-ilis ! Take  your  place,  for  you  were  made  t’o'X’uit  by  your 
father  four  times,  so  that  you  are  not  afraid  of  anything.”  Then  he 
called  all  the  people  to  stand  in  a square,  and  the  woman  took  her 
position  in  the  middle.  Upon  Ho'LElite’s  command,  the  men  com- 
menced to  beat  the  boards.  He  asked  K*ex*  to  step  inside  the  square, 
and  to  show  the  woman  what  to  do.  He  obeyed,  and  while  the  people 
were  beating  the  boards  K-ex-  began  to  dance  in  a stooping  position. 
He  looked  up  and  down  and  trembled  while  he  was  running  backward 
and  forward  with  short  steps.  Finally  he  turned  to  the  right  and 


584 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


caught  the  supernatural  power  of  the  winter  dance  between  his  palms. 
Four  times  he  ran  backward  and  forward,  swinging  his  hands,  the 
palms  of  which  were  pressed  together,  then  he  threw  it  upon  the  peo- 
ple, who  began  to  laugh,  while  some  cried  “hap”  and  “ wibU.”  Now  the 
woman  was  told  to  try  to  catch  the  supernatural  power.  She  went 
through  the  same  motions,  and  when  she  caught  the  spirit,  the  sound 
of  whistles  which  she  had  hidden  in  her  mouth  was  heard.  Four 
times  she  ran  backward  and  forward,  then  she  threw  the  supernatural 
power  among  the  people,  who  stooped  down  at  once.  Then  they  began 
to  laugh  and  to  utter  their  cries.  This  continued  for  a few  minutes, 
then  she  caught  the  spirit  again,  whereupon  Nu'xuemis  sung  out  “ho” 
for  the  fourth  time.  The  people  responded  “he.” 

Meanwhile  the  day  had  broken.  The  people  arranged  themselves  in 
procession,  which  was  led  by  Ya/qois  and  his  attendants.  They  were 
followed  by  the  bear  dancers;  then  came  the  fool  dancers  and  the 
ha'mshamtsEs,  and  finally,  as  a fourth  group,  the  people  surround- 
ing the  t’b'X’uit  who  had  thrown  the  supernatural  power  into  them. 
Ya/qois  first  entered  the  house  of  Nu'xneinis,  followed  by  the  rest  of 
the  procession.  Wllauqoa/lagdlis  was  the  last  to  enter.  She  was 
accompanied  by  Ho'LElite  and  Nu'xnemis,  who  remained  standing, 
one  on  each  side  of  the  doorway.  As  soon  as  she  had  entered,  she 
commenced  singing  her  secret  song: 

1.  O friend!  I liave  been  made  to  set  everything  to  rights.  O friends!  yo,  yo,  yo, 

yei,  friend ! yo,  yo,  yo,  yei,  friend. 

2.  O friend ! I carry  in  my  hands  the  dances  of  my  rivals.  O friends ! yo,  yo,  yo, 

yei,  friend!  yo,  yo,  yo,  yei,  friend. 

3.  O friend ! They  tried  to  strike  me  with  the  death  bringer.  O friends ! yo,  yo,  yo, 

yei,  friend ! yo,  yo,  yo,  yei,  friend. 

4.  O friend!  And  the  fire  of  death  has  been  put  into  my  hands.  O friends!  yo,  yo, 

yo,  yei,  friend ! yo,  yo,  yo,  yei,  friend. 

She  sang  this  song  standing  in  the  doorway,  and  during  this  time 
G’aTg-alxola,  who  was  standing  among  the  people,  said:  “I  am  glad 
that  you  have  come,  and  that  you  compel  us  to  follow  the  laws  of  our 
ancestors;  but  sing  louder,  that  we  may  know  who  you  are.”  Then 
he  turned  to  his  people  and  continued:  “Take  care!  Sometimes  the 
tVX’uit  will  come  to  a house  in  which  there  are  many  people  and  will 
benefit  them,  but  generally  they  do  harm  to  them.”  Then  the  woman 
stopped  singing.  Ho'LElite  gave  a signal  to  the  people  to  beat  time, 
and  Nu'xnemis  cried  “ho,”  as  before.  The  people  responded  “he,” 
but  kept  on  beating  the  boards.  Then  the  tfb'X’uit  went  forward  to 
the  rear  of  the  house,  leaving  the  fire  to  her  left.  She  moved  in  a 
stooping  position,  looked  up  and  down,  and  finally  caught  the  super- 
natural power.  Then  the  whistles  were  heard  again.  She  threw  it 
among  the  people,  who  first  cried  “ya,”  as  though  she  had  missed  them ; 
but  then  they  began  to  utter  their  various  cries.  After  a few  minutes 
she  took  the  spirit  back  again  and  all  were  quiet. 

Then  G-aTg-axola  said : “ What  was  the  matter  just  now  ? I told  you 


THE  KWAKIUTL  INDIANS. 


585 


to  take  good  care  and  not  to  yield,  and  you  seemed  to  have  lost  your 
senses.  Take  better  care  the  next  time.” 

Then  they  walked  out  of  the  house  in  the  same  order,  the  t’o'X’uit 
with  her  two  attendants  being  the  last.  When  Xu'xnemis  left  the 
house,  he  cried  again  “ho,”  and  all  the  people  responded  “he,”  but 
the  lia/mats’a  cried  “hap,  hap,  hap,  hap,”  the  bears  cried  “wo,  ha,”  the 
fool  dancers  “wild,”  and  the  lia'mshamtsEs  “wip,  wip.”  In  this  man- 
ner they  visited  four  houses.  In  each  house  the  t’o'X’uit  caught  the 
supernatural  power  and  threw  it  upon  the  people,  as  described  hereto- 
fore. Every  time  she  threw  it  the  uproar  increased.  The  people  shook 
their  blankets  to  indicate  that  the  power  had  entered  them.  They 
laughed  and  cried,  and  kissed  each  other’s  wives,  for  during  this  time 
there  is  no  jealousy  and  no  quarreling. 

After  they  had  visited  four  houses,  Xu'xnemis  led  them  back  to  the 
winter  dancing  house  of  Se'g-ag’ila.  They  were  marching  in  the  same 
order  as  before.  Just  before  they  entered,  Ho'LElite  spoke:  “Friends, 
I missed  one  of  our  number.”  The  people  asked  who  it  was,  and  he 
replied : “It  is  the  son  of  our  friend  Se'g*ag-ila.  The  spirits  have  taken 
him  away.  Let  us  go  into  the  house  and  see  wliat  we  can  do  for  our 
friend.”  Then  the  people  entered.  As  soon  as  all  were  in,  the  whistles 
were  heard  in  the  ha'mats’a’s  room.  Then  Ho'LElite  spoke:  “Enter 
this  house  of  our  ancestors  and  observe  the  rules  that  were  laid  down 
for  the  winter  ceremonial.  Xow  be  happy.  I thank  you  that  you  all 
have  come  to  this  morning’s  ceremonial,  for  T do  not  like  to  have  the 
Koskimo  or  other  strangers  laugh  at  us.  If  any  of  you  should  have 
gone  home  before  we  finished,  they  might  have  had  cause  for  doing  so. 
We  have  done  well,  and  the  spirit  of  the  winter  dance  is  pleased  with 
our  work,  else  he  would  not  have  taken  one  of  our  number  with  him. 
Therefore  I myself  and  my  friend  Xu'xnemis  are  pleased  with  you.  We 
can  not  do  anything  without  you,  for  what  is  the  power  of  a chief 
without  the  help  of  his  tribe1?  You  call  me  and  Xu'xnemis  chiefs  of  the 
winter  ceremonial,  but  we  have  no  power  without  you.  Xow  I have 
finished.”  Then  Xu'xnemis  sang  out  once  more  “ho,”  the  t’o'X’uit 
repeated  her  secret  song,  and  when  she  had  finished  Ho'LElite  gave  the 
signal  for  the  people  to  beat  the  boards.  She  stretched  her  hands  for- 
ward and  caught  the  supernatural  power  in  the  same  manner  as  de- 
scribed before,  and  threw  it  upon  the  people,  who  cried  again.  Three 
times  she  caught  it  and  threw  it  upon  the  people.  The  fourth  time 
after  she  had  caught  it  she  threw  it  up  into  the  air.  Then  she  snt 
down. 

Xow  Ho'LElite  arose  and  spoke : “ O friends ! Do  you  see  how  I look  ? I 
am  almost  ready  to  run  away  from  this  house  of  the  supernatural  power. 
I was  standing  near  the  post  and  next  to  me  was  standing  K-ex-’s  son. 
As  soon  as  our  friend  Wllanqoa'lagdlis  caught  the  supernatural  power 
the  fourth  time  and  threw  it  upward,  it  came  and  took  the  son  of  our 
chief  K*ex*  along.  Friends,  there  was  one  taken  away  this  morning, 


586 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


and  a second  one  was  taken  just  now,  so  there  are  two  of  our  number 
missing  to-day.  If  the  supernatural  power  continues  in  this  manner, 
we  shall  have  no  children  left.  Therefore  I think  I will  go  home  and 
hide.”  When  the  people  heard  this,  they  cried:  “ Oh,- do  not  go! 
What  shall  we  do  without  you,  the  only  one  who  can  speak  with  the 
spirit  of  the  winter  dance.” 

G-a'lg-axola  said:  “ Indeed,  Ho'LElite,  your  words  are  true.  But 
why  do  you  want  to  run  away  and  leave  us  in  the  dark?  Your  name  was 
given  to  our  ancestors  as  a light  by  which  to  see  the  spirit  of  the  win- 
ter dance,  and  you  also,  Nu'xnemis,  were  made  chief  of  the  winter  dance 
of  the  Kue'xa.  If  you  run  away,  what  can  we  do,  for  none  of  us  can 
speak  to  the  spirits  as  you  two  friends  do.  Take  care,  and  let  us  stand 
our  ground.  Let  us  face  the  spirit  of  the  red  cedar  bark.  Now  pass 
around  the  batons  and  let  us  sing  the  songs  that  our  grandfathers 
used  in  order  to  drive  away  the  birds  of  the  red  cedar  bark,  for  I am 
afraid  of  the  way  in  which  our  people  are  disappearing  to-day.  Now 
I have  finished.” 

Then  Nu'xnemis  called  all  the  men  together,  struck  the  board  once, 
and  cried  “wo  wo  ai.”  Then  all  the  people  struck  the  boards  together 
and  cried  “ wo  wo  ai  a ai  a k*as  ai,”  beating  time  rapidly  for  a few  min- 
utes. Then  Nux'nemis  struck  the  board  with  one  sharp  stroke  and 
cried  “ wo.”  Then  all  the  people  did  the  same,  all  striking  the  boards  at 
the  same  time  with  one  short,  loud  rap.  Immediately  following  this 
rap  they  beat  the  boards  rapidly,  crying  “he,”  drawn  out  very  long. 
Then  they  were  quiet,  but  the  whistles  continued  to  be  heard. 

G’afig-axola  said : “You  have  failed  to  drive  away  the  spirits  with  this 
song.”  Then  Nu'xnemis  gave  another  rap  and  cried  “hama  ma  ma.’’ 
Then  all  the  people  began  to  strike  the  boards  rapidly,  and  cried  “hama 
ma  ma  ma  ma,”  continuing  to  beat  the  boards  for  a few  minutes.  This 
cry  is  intended  to  drive  away  the  grizzly  bear.  Then  Nu'xnemis  gave  a 
short  rap,  crying  at  the  same  time  “hamam,”  and  all  the  people  gave  a 
short  rap  and  cried  “hama  ma  ma,”  and  then  ceased  beating.  The 
whistles  were  still  heard. 

Then  G-a'lg’axola  said:  “You  have  missed  the  spirit  of  the  cedar 
bark  again.  Nu'xnemis  struck  the  boards  as  before  and  cried 
“yihi  i i i.”  Then  the  people  took  up  the  cry  in  the  same  manner  as 
before,  crying  “yo  hi  i i i Ira  u u u,”  and  again  Nu'xnemis  gave  the  signal 
to  stop,  as  before,  by  the  cry  “yilii,”  and  the  people  finished,  crying 
“yihi  i i i hu  u u.”  Still  the  whistles  continued  to  be  heard. 

Again  G*a'lg-axola  said,  “You  missed  the  spirit  again,  for  the  whistles 
continue  to  sound.  Now  try  to  find  a song  that  will  drive  them  away.” 
Now  Nu'xnemis  cried  “ wup,”  as  before,  and  the  people  repeated  “ wup, 
wup,  wup.”  Nu'xnemis  gave  the  signal  to  stop,  as  before,  crying  “wup,” 
to  which  the  people  responded  by  crying  “kux,  wup,  wup,  wup.”  Now 
the  sounds  of  the  whistles  began  to  grow  a little  weaker. 

Then  G’a'lg’axola  said:  “ Now  you  have  hit  the  birds  of  the  ceremo- 


THE  KWAKIUTL  INDIANS. 


587 


nial,  for  yon  hear  that  their  cries  have  changed.  Look  out,  Nu'xnemis 
and  Ho'LElite,  and  you  members  of  the  seal  society,  and  you  que'qutsa.” 
Then  Nu'xnemis  gave  a new  signal  and  began  to  sing,  accompanied  by 
all  the  people,  who  were  beating  time  very  rapidly.  The  song  was  as 
follows: 


Slide, 

Slide, 

Slide,  etc. 
i#'~rv 

h* 

■ Lj  1 

1 ! j i 

a H 

Hr 

W5  w5  ai 

Clapping.  nn  etc. 


ai 


Slide, 


f- . r 

: 

^ • r j n 

a kyas  ai  - kyas  me  - La  ai  . , , , . . 


Slide. 


ai  - kyas  me  - La  ai  . , . 6 . . . hai  5. 

At  the  end  of  the  song  the  master  of  cer-  7~y. — i -g? — . 

emonies  cried  “hu;”  and  when  he  had  fin-  gzzfzzp 1 

ished,  all  the  people  sang  h- 

This  song  was  repeated  four  times,  and  all  this  while  the  sound  of 
the  whistles  was  growing  less  and  less.  Finally,  at  the  end  of  the  last 
song,  the  people  cried  in  response  to  Nu'xuemis’s  cry,  “wo  ha/lie,  wa 
wa”  and  with  this  the  sound  of  the  whistles  ceased  altogether. 

Then  G-a'lg-axola  said:  u Wa,  wa!  I can  not  say  much  now,  for  we  are 
surely  all  very  hungry.  But  I will  thank  you  for  driving  away  the 
birds.  I am  afraid  of  the  way  in  which  our  children  were  taken  away 
this  morning.  Our  friend  K-ex-  has  asked  me  to  invite  you,  Ya/qois,  to 
stay  and  to  have  something  to  eat,  and  all  you,  members  of  the  seal 
society,  and  you,  que'qutsa.  Now  take  your  seats.”  Then  all  the  people 
sat  down  in  their  proper  places,  while  Ya/qois  retired  to  the  secret  room 
of  the  ha/mats’a  in  the  rear  of  the  house.  Then  K-ex-  and  his  friends 
brought  dry  salmon  and  roasted  it.  They  sent  a piece  to  Ya/qois^ 
and  then  distributed  the  rest  among  the  members  of  the  seal  society 
and  the  que'qutsa.  They  sent  a dish  of  grease  to  Ya'qois,  and  then 
gave  the  others  in  order,  one  dish  to  every  four  persons.  After  they 
had  eaten,  K-ex-  asked  them  to  keep  their  seats,  as  he  intended  to 
give  another  feast.  Ho'LElite,  who  acted  as  K-ex-’s  speaker,  said: 
‘‘Now  friends,  my  chief  K-ex-  is  going  to  give  another  feast.  Let  us 
sing  and  let  the  world  know  that  we  are  feasting.  Pass  the  batons. 


588 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


Wo  have  much  to  do  before  this  night.”  One  man  distributed  the 
batons,  and  now  Nu'xnemis  began  the  song  of  the  ha/mats’a  Bu'bago- 
layu  of  the  Kue'xa,  and  the  latter  tribe  sang  as  follows: 

1 Yon  are  looking  for  food,  great  magician,  hame. 

2.  Sweet  is  what  you  will  eat,  great  cannibal,  hame. 

3.  You  will  swallow  men  alive,  great  cannibal,  hame. 

After  the  first  song  was  finished,  Nu'xnemis  began  another  song  of 
the  same  ha/mats’a,  which  was  also  sung  by  the  Kue'xa: 

1.  BaxbakualanuXsi'wae  was  looking  for  food  for  me,  hamai. 

2.  BaxbakualanuXsi'wae  was  looking  for  men  for  me,  hamai. 

3.  BaxbakualanuXsi  wae  was  looking  for  corpses  forme;  therefore  you  are  feared 

by  all,  as  you  will  devour  men,  hamai. 

4.  Yes!  all  are  afraid  of  you,  eldest  brother!  You  who  empty  the  houses,  great 

magician. 

After  these  two  songs  of  the  Kue'xa,  the  song  maker  of  the  Walas 
Kwakiutl  commenced  the  following  song: 

1.  I waut  to  eat  you;  I am  a great  magician. 

2.  Your  dance  is  getting  greater  all  the  time,  you  true  dancer. 

3.  Your  dance  is  growing  greater  all  the  time,  you  true  dancer. 

The  second  song  of  the  Walas  Kwakiutl  was  as  follows: 

1.  He  cried  hap  for  me,  the  great  magician,  hamamai. 

2.  He  sang  the  songs  of  the  winter  dance  for  me,  the  great  magician;  hamai. 

3.  I went  through  BaxbakualanuXsi' wae/s  house,  the  great  magician’s;  hamamai. 

4.  I went  to  the  far  end  of  our  world.  I am  liked  by  all  as  far  as  the  edge  of  our 

world.  All  try  to  imitate  me;  hamamai. 

While  the  last  song  was  being  sung,  K*ex*  and  his  friends  were  prepar- 
ing the  berries.  The  dishes  were  placed  in  four  rows,  and  two  men  were 
sent  around  to  count  the  people  by  threes,  while  a third  one  distributed 
the  spoons.  Then  K*ex*  called  Ho'LElite  to  come.  He  took  up  a dish 
and  said : “Now  friends,  we  are  ready  to  eat.  But  I do  not  want  to  have 
any  trouble.  I want  to  keep  the  weather  calm  for  our  great  friend 
Ya/qois,  for  if  I do  not  give  to  him  first  he  will  grow  as  wild  as  the  storm. 
This  dish  is  for  you,  Ya'qois.”  Then  he  took  up  another  dish  and  said: 
“ This  is  for  you,  seals,  and  for  your  friends.”  Thus  the  dishes  were  all 
distributed,  one  being  given  to  each  three  persons.  Before  they  began 
to  eat,  a man  was  sent  to  Ya/qois,  to  see  if  he  had  commenced  eating. 
Soon  he  came  back  carrying  the  empty  dish  and  laughing.  He  said: 
“Look  at  me,  friends.  Our  great  friend  Ya/qois  must  have  been 
hungry,  for  his  dish  was  emptied  before  I came  to  see  him.  Now  eat, 
for  you  must  be  hungry  also.”  Then  all  began  to  eat. 

Ho'LElite  arose,  holding  his  speaker’s  staff*,  and  said:  “Friends,  I 
feel  happy  on  account  of  this  day’s  work.  It  seems  to  me  I am  seeing 
our  grandfathers,  and  that  pleases  me  much;  and  it  must  please  you 
too,  La'ing*ala;  and  you,  La'LasqEin;  and  you,  NE'msqEmut;  and  you, 
K-e'qale;  and  you,  Ts’i'lg-axsta.  I know  you  all  feel  very  happy  to-day. 
Only  do  not  forget  the  laws  of  our  grandfathers.  But  I must  not  say 


THE  KWAKIUTL  INDIANS. 


589 


that  again,  for  you  are  keeping  them  well.”  While  he  was  saying  so, 
some  of  the  old  people  remarked:  “Yes;  it  is  true.”  And  he  con- 
cluded: “ I know  we  are  glad  to-day.  Now  eat,  for  our  chiefs  food  is 
sweet.” 

Now  the  people  ate,  and  when  they  had  finished,  most  of  them  went 
home.  The  ha/mats’a’s  whistles  were  heard  during  this  time  in  his 
room. 

About  2 p.  m.  the  people  came  to  fetch  blankets,  which  were  to  be 
given  away  in  honor  of  Ya/qois,  in  payment  of  his  last  ecstasy.  When 
the  blankets  were  being  brought  into  the  house,  the  tally  keeper  of  the 
G-o'p’enox  came  in  to  look  after  the  proper  distribution  of  the  blan- 
kets. He  gave  the  names  of  the  clans  and  the  number  of  blankets  Avhich 
were  to  be  given  to  each  name  in  each  clan.  The  blankets  were 
arranged  in  such  a manner  that  those  intended  for  each  clan  were  laid 
in  the  same  direction,  while  those  of  the  next  clan  w^ere  placed  cross- 
wise on  top  of  the  preceding  lot.  Wherever  a man  was  to  receive 
blankets  who  still  owed  some  to  the  giver,  a number  of  sticks  corre- 
sponding to  the  number  of  blankets  due  were  placed  in  the  pile,  which 
were  given  to  the  debtor  as  canceling  the  debt,  according  to  the  num- 
ber of  sticks.  After  the  pile  intended  for  the  G'b'p’enox  was  arranged, 
the  tally  keepers  of  the  other  tribes  came  in  and  looked  after  the  blan- 
kets which  were  to  be  given  to  them.  In  the  evening  a feast  was  given, 
the  blankets  were  distributed,  and  shortly  after  the  beginning  of  the 
feast  the  lia/mats’a  Ya/qois  came  in  and  danced  three  times;  the  first 
and  the  second  time  in  a squatting  position  with  an  ordinary  blanket, 
but  the  third  and  fourth  time  in  a standing  position  and  wearing  a 
Chilcat  blanket.  As  everybody  was  tired  on  account  of  the  long  cere- 
monies of  the  preceding  nights,  the  feast  closed  early. 

November  25. — Early  in  the  morning  T’o'kuiL,  chief  ot  the  Koskimo, 
sent  his  two  speakers,  AYabala  and  WalkaLtsEmt,  to  the  chiefs  of  the 
Kwakiutl,  to  inform  them  that  on  this  day  the  Koskimo  intended  to 
perform  their  ceremonies,  and  requesting  them  to  postpone  their  festi- 
vals to  another  day.  They  also  asked  them  to  keep  the  matter  a secret 
from  the  young  men.  At  the  same  time  the  speakers  invited  the 
Koskimo  to  come  quietly  to  the  house  of  their  chief.  At  8 o’clock  they 
were  assembled.  Then  a ha/mats’a  was  placed  at  the  entrance,  in  order 
to  prevent  outsiders  from  coming  in,  and  members  of  the  tribe  from  leav- 
ing the  house.  AYabala,  the  first  speaker  of  the  Koskimo,  arose  and 
spoke  in  a low  voice  so  that  he  could  not  be  heard  outside  the  house: 

“Koskimo,  you  have  assembled  in  the  dancing  house  of  our  grand- 
fathers. Thank  you,  friends,  for  having  followed  the  first  call  of  our 
chief  TWkuiL.  Listen  to  me,  men,  women,  and  children!  You  have 
• the  largest  cedar  bark  in  the  whole  world,  and  you  keep  the  laws  of 
your  grandfathers  more  strictly  than  anyone  else.  We  have  two  chiefs 
in  our  tribe,  and  therefore  we  can  not  be  vanquished  in  our  strife  with 
property.  Look  out ! JDo  not  let  the  Kwakiutl  vanquish  you,  for  they 


590 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


are  few  only.  See,  how  many  you  are  ! There  are  enough  Koskimo  iu 
this  house  to  fill  the  seats  all  around  the  walls.  The  Kwakiutl  could 
not  fill  one-half  of  the  seats  in  this  house.  Therefore  they  can  not 
vanquish  us.  Take  care,  friends ! As  I said  before,  we  have  a good 
tradition  to  follow.  Therefore  we  can  afford  to  laugh  at  them.  The 
Kwakiutl  say  that  we  have  no  tradition,  but  our  chief  T’o'kuiL,  who  is 
going  to  give  the  ceremonial,  belongs  to  the  family  of  G*e'xdEn.  You 
know  that  he  had  a ha/mats’a  whose  name  was  Nauayolis  (the  only 
one  in  the  middle  of  the  world).  Who  has  a name  as  great  as  that? 
And  if  I should  mention  all  the  traditions  and  the  great  names  of 
our  grandfathers,  the  people  would  run  into  the  woods,  for  they  have 
no  names  like  ours.  Therefore,  take  care,  friends!  It  is  not  my  office 
to  let  you  know  the  plans  of  our  chief.  I have  said  enough.’’ 

All  were  quiet  for  about  half  an  hour.  Then  To'qoamalis,  the  chief 
keeper  of  the  red  cedar  bark  of  the  Koskimo,  arose.  He  looked  up  to 
the  roof  and  down  to  the  floor,  and  then  said : 

“AAabala,  your  words  are  true.  You  have  seen  part  of  my  younger 
days,  for  you  have  seen  my  father.  But  you  have  not  seen  my  grand- 
father. I have  seen  him.  His  rules  were  strict,  but  those  of  my  father 
were  a little  less  rigid.  Our  rules  of  the  winter  dance  are  much  less 
strict  than  those  of  olden  times.  Thank  you,  AYabala,  for  your  speech. 
I paid  close  attention  and  found  that  you  did  not  make  a single  mis- 
take. Kow,  friend  AYabala,  look  out  and  take  notice  of  all  I say  in 
the  speeches  that  I make  during  the  winter  ceremonial,  at  marriages, 
when  the  marriage  money  is  refunded,  and  at  summer  festivals ; for  all 
these  were  learned  from  my  great-grandfather.  They  were  given  to 
my  father  and  to  my  great-grandfather  at  the  beginning  of  the  world 
by  the  Maker  of  Dances.  Thus  I obtained  the  large  box  in  my  house, 
in  which  I keep  all  the  dances  and  the  red  cedar  bark  and  the  names 
and  traditions  of  our  great-grandfathers.  After  I am  dead,  I want  you, 
AYabala,  to  take  my  house  and  the  large  box  in  which  I am  keeping 
the  laws  of  our  grandfathers.  Next  winter  we  shall  have  the  greatest 
winter  dance  that  lias  ever  been  known,  but  I do  not  want  to  direct  it, 
for  I will  give  all  my  rights  to  you,  friend  AYabala.  After  this  winter 
you  will  have  to  ask  his  advice  about  everything,  not  mine. 

“Kow  I will  speak  about  our  present  meeting,  for  I know  you  all  wish 
to  know  its  object.  You  can  not  know,  for  it  is  the  office  of  the  chief 
of  the  winter  ceremonial  to  inform  you.  You  know  that  I am  the  chief 
of  the  winter  ceremonial.  My  name  is  To'qoamalis.  It  is  renowned 
among  all  the  tribes  all  around  the  world,  for  I have  given  blankets  to 
all  of  them,  and  whenever  I speak  they  all  hear  me.  The  spirit  of  the 
winter  dance  even  hears  me,  and  you  also,  my  tribe,  hear  me.  This  is 
a secret  meeting  of  our  winter  dance.  You  are  aware  that  the  grand- 
son of  our  chief  T’o'kuiL  has  been  taken  away  by  the  spirit,  and  that 
T’o/kuiL?s  sister  was  taken  away  at  the  same  time.  Last  night  Bax- 
bakualanuXsUwae  came  to  me  and  told  me  that  these  two  have  passed 


THE  KWAKIUTL  INDIANS. 


591 


through  all  his  customs  and  rules,  and  that  they  are  on  their  way  home. 
Therefore  I have  called  you  into  our  winter  dance  house,  that  you  may 
prepare  for  them.  They  will  make  their  appearance  to-day.  Keep 
yourselves  in  readiness.  The  spirit  never  lies,  and  BaxbakualanuX- 
sl'wae  does  not  keep  the  novices  longer  than  four  days,  and  it  is  four 
days  to  day  since  our  children  have  disappeared.  Xow  I have  finished.” 

Every  now  and  then  the  old  men  would  interrupt  him,  saying : “ Your 
words  are  true,”  or  “ Your  words  are  good,  chief,”  or  “Go  on!  teach 
your  children  how  to  speak.”  He  remained  standing  a short  while 
without  speaking. 

Then  T’o^kuiL  came  forth  from  behind  a curtain  that  was  stretched 
along  the  rear  of  the  house,  and  said:  “O  Koskimo!  I am  pleased  that 
you  have  come  to  this  house.  I did  not  put  it  up  for  myself;  I did  so 
for  the  greatness  of  your  name.  How  glad  I am,  for  I believe  I heard 
our  chief  To'qoamalis  say  that  BaxbakualanuXsI'wae  came  and  told 
him  that  my  grandson  and  my  sister  are  on  their  way  home.  Is  that 
true?”  To'qoamalis  replied : “It  is  true.”  Then  T’o'kuiL  continued : 
“Let  them  come,  for  I have  my  property  in  readiness.”  To'qoamalis 
said  : “I  did  not  finish.  Let  our  leaders  prepare  to  meet  the  two  new 
lia'mats’as  who  are  on  their  way  home  from  BaxbakualanuXsLwae, 
for  they  will  be  excited,  and  we  must  not  call  upon  the  que'qutsa  to 
be  the  first  to  meet  them.  We  must  ask  some  who  have  greater  powers. 
I will  ask  our  friend  the  great  Po'Xuiyalas,  and  her  friend  the  great 
G-adolL,  and  the  great  KokuiLala,  and  the  great  Q’e'q’anqoala,  our 
four  ma/maq’as  who  have  passed  through  the  t’o'X’uit  ceremonies  to  be 
our  leaders.  Xext  shall  follow  the  HehnElk,  the  old  ha/mats’as.  I 
will  ask  you,  Xa/noqois,  and  you,  great  Xau/algus,  and  your  friend  the 
great  Qoa/ts’amya,  and  your  friend  the  great  Qoa/yuqoalagulis,  and 
your  great  friend  Qoaxkue'k11,  and  your  great  friend  L’emElxa'lag-ilis, 
to  follow  the  ma/maq’as  to  defend  us  from  the  Avildness  of  the  new 
ha/mats’as.  Xext  I will  ask  you,  Maahnyaank11;  you  will  form  the  third 
group.  Dress  yourselves  as  nicely  as  you  can.  You  have  heard  the 
Kwakiutl  say  that  we  do  not  know  how  to  arrange  a winter  ceremonial 
properly.  Send  someone  to  fetch  button  blankets  from  your  houses 
and  put  them  on.  Last  of  all,  I will  ask  you,  que'qutsa.  Two  of  you 
shall  carry  a plank  on  which  the  Maa'myaank11  shall  beat  time  to 
accompany  their  song.  Two  others  shall  carry  a plank  on  which  the 
ma/maq’as  shall  beat  time  to  accompany  their  song,  and  you  shall  also 
carry  a plank  on  which  you  shall  beat  time  to  accompany  your  own 
song.  And  one  of  you  shall  carry  a skin  drum.  Our  friOnds  the  great 
ha/mats’as  shall  not  sing,  because  they  have  to  look  after  their  whistles. 
There  shall  be  four  attendants  for  each  of  the  new  ha/mats’as,  and  I 
will  name  them  now.  You,  He/lek-ats’e,  K-a'qoLe,  ALanudala,  and 
your  friend  Hedekamig-alis,  keep  ready  to  attend  the  new  lia'inats’a, 
who  is  going  to  come  back  to  us  to-day.  You,  Qoa/gis,  Xalulala, 
XTx'eqala,  *ind  your  friend,  Lela/asnuk",  keep  ready  to  attend  the 


592 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


other  ha/mats’a,  who  is  going  to  come  back  to  us  to-day.  That  is  all. 
These  are  the  rules  of  G-e'xdEn,  who  came  down  from  heaven.  My 
grandfather  was  of  the  blood  of  G-e'xdEn,  according  to  the  tradition. 
Be  very  careful,  for  the  Kwakiutl  tribes  will  watch  us  closely.  They 
will  try  to  find  fault  with  our  laws,  for  they  have  ways  of  their  own 
which  differ  widely  from  ours.  They  have  no  winter  ceremonial  of 
their  own,  and  they  will  try  to  learn  from  us.  I am  not  ashamed  to  show 
our  winter  ceremonial,  for  it  is  derived  from  tradition.  That  is  all.” 

With  this  he  sat  down  and  A'Labala  arose.  He  said:  uO  Koskimo! 
you  have  heard  the  rules  of  our  graudfathers.  Try  to  remember  them, 
and  do  not  forget  what  our  chief  has  said,  for  he  mighf  die  and  I 
might  die  as  well,  and  then  one  of  you  must  take  my  place.  That  is 
all,  my  grandchildren.” 

Next  La/gulag-ilis,  the  chief  of  the  painting,  arose  and  said:  To'qoa- 
malls,  it  is  true  what  you  said.  We  have  traditions  which  teach  us 
our  laws.  We  are  not  like  our  rivals,  the  Kwakiutl.  I tried  to  dis- 
cover the  origin  of  their  names  which  they  use  in  the  winter  ceremo- 
nial, but  no  one  could  tell  me,  for  they  have  no  traditions.  Therefore 
you,  Koskimo,  my  tribe,  may  laugh  at  the  little  Kwakiutl ; for  each  of 
our  clans  has  a tradition,  or  even  two,  and  we  may  justly  be  proud 
of  it.  Look  at  me  and  my  name.  According  to  the  tradition  that  was 
told  me  by  my  grandfather,  the  first  La/gulag-ilis  was  the  chief  of  the 
paintings  for  the  winter  ceremonial.  That  is  now  my  name.  It 
belongs  to  the  tradition  of  my  clan,  the  G-e'xsEm.  And  my  name  has 
existed  from  the  beginning  of  the  world.  When  the  Kwakiutl  desire 
to  discover  the  true  history  of  our  ceremonials,  tell  them  the  tradition 
of  G-e/xdEn,  for  our  chief,  T’o'kuiL,  is  giving  his  winter  ceremonial. 
Now  take  care,  my  tribe.  You  are  aware  that  I am  the  chief  of  the 
paintings  and  of  the  ornaments  of  the  que'qutsa.  We  are  all  pre- 
pared now,  for  we  are  painted  with  charcoal  that  we  obtained  from 
Yn/xstaL,  according  to  the  legend  of  the  Naqd'mg-ilisala.  You  know 
how  he  obtained  the  fire  of  death  from  the  wolves  at  -^ayaiL.  You 
also  remember  how  he  burnt  his  enemies  to  ashes  and  transformed 
them  into  stone  by  means  of  his  fire  of  death.  Our  paint  is  that  of 
Ya'xstaL,  therefore  we  use  only  black  paint  and  no  red  paint.  The 
other  tribes  use  very  little  charcoal  and  much  red  paint,  because  they 
have  no  traditions  to  guide  them.  I do  not  allow  any  red  paint  to  be 
used  in  the  winter  ceremonial,  because  our  traditions  do  not  say  any- 
thing about  the  use  of  red  paint.  Only  the  clan  NaE'nsx-a  are  allowed 
to  use  red  paint,  for  their  chief,  NenaTaats’eqa,  used  red  paint  in  the 
dance  no'nLEm,  to  indicate  the  blood  of  the  tribes  whom  he  had 
killed.  Therefore  they  use  no  charcoal,  but  red  paint  only.  They 
also  use  white  paint  in  the  no'nLEm  dance,  because  Nena'laats’eqa 
brought  this  ceremonial  down  from  heaven,  and  the  white  paint  sym- 
bolizes the  white  clouds.  All  our  ceremonials  are  founded  on  tradi- 
tions which  our  ancestors  were  careful  to  preserve.  Now  I have 
finished  my  speech.”  (See  p.  410  and  figs.  129-133,  pp.  484-486.) 


THE  KWAKIUTL  INDIANS. 


593 


Then  G-ii/sa  arose  and  said:  “Did  you  hear  the  speech  of  our  old 
chief?  It  made  me  feel  proud  and  happy,  for  I am  a young  man  and 
did  not  know  how  we  obtained  our  winter  ceremonial.  Let  us  remem- 
ber the  speeches  and  traditions  of  our  ancestors.  Take  care,  ma/maq’as, 
ha/mats’as,  maa'myaank",  and  you,  que'qutsa  of  the  Koskimo,  Gua'ts’e- 
nox  and  L’a'sq’enox,  for  we  are  all  one  tribe  now.  Do  not  fall  and  do 
not  laugh,  that  the  Kwakiutl  may  not  sneer  at  us.  I am  going  to  watch 
you  carefully,  and  if  I should  see  anyone  breaking  the  laws  of  the  win- 
ter ceremonial,  he  will  be  made  a wa/tanEm.  He  will  have  to  wear  a 
long  white  feather  and  dance  in  all  the  houses  of  the  Kwakiutl.  After 
his  dance  he  will  have  to  distribute  at  least  one  hundred  blankets.  This 
will  be  the  punishment  for  any  transgression  of  the  rules  of  our 
ancestors.” 

When  he  had  finished,  two  men,  Xa'kuaLe  and  Walx*aLtsamt,  entered, 
and  the  latter  spoke:  “Be  quiet,  slaves  of  the  red  cedar  bark!  I have 
seen  our  two  chiefs  who  were  taken  away  by  G’e'xdEn’s  Baxbakualan- 
uXsfiwae.  They  look  dreadful,  dressed  in  ornaments  of  balsam  pine. 
I narrowly  escaped  them.”  G*a/sa  asked,  “Is  that  true?”  When  he 
said  so,  a man  who  was  standing  on  the  roof  of  the  house  secretly  gave 
a signal  to  the  two  new  ha/mats’as,  wlio  were  waiting  in  the  woods  at 
the  west  end  of  the  village.  They  rushed  down  to  the  beach,  crying 
“hap,  hap.”  When  the  people  who  were  assembled  in  the  house  heard 
them,  To'qoamalis  sent  G*a/sa  to  the  roof  of  the  house  to  look  around. 
He  came  back  and  said : “ Slaves  of  the  red  cedar  bark,  prepare  to  meet 
our  two  new  ha/mats’as.” 

Then  the  people  left  the  house,  the  four  ma/maq’as  first.  They  were 
followed  by  the  six  ha/mats’as,  who  wore  ornaments  of  red  cedar  bark 
and  eagle  down  on  their  heads.  Cedar  bark  was  wound  in  four  turns 
around  their  arms  and  legs.  Kext  followed  the  maa'myaank11,  the 
young  women,  who  also  wore  rings  of  red  cedar  bark,  but  no  arm  rings 
or  leg  rings.  They  had  a belt  of  cedar  bark  and  wore  button  blan- 
kets. Their  faces  were  painted  black,  with  three  horizontal  lines  (one 
over  the  eyebrows,  one  over  the  lower  part  of  the  nose,  and  one  just 
under  the  mouth)  and  four  vertical  lines  (one  downward  from  the  mid- 
dle of  each  lower  eyelid,  and  one  from  the  middle  of  each  temple).  When 
these  three  groups  had  left  the  house,  the  remaining  que'qutsa  shouted 
“yu”  four  times.  Then  they  all  rushed  out  of  the  house,  and  followed, 
in  a separate  group,  the  three  preceding  groups.  The  ma/maq’as  were 
singing.  The  ha/mats’as  walked  on  silently.  Their  heads  and  arms 
were  held  downward.  The  maa'myaank11  were  singing  and  dancing, 
and  the  que'qutsa  cried  “yu”  every  few  minutes. 

When  they  had  reached  the  new  ha'mats’as,  the  four  ma'maq’as  sur- 
rounded them.  The  six  old  ha/mats’as  formed  a circle  around  the 
ma/maq’as.  They  in  turn  were  surrounded  by  the  maa'inyaank",  who 
held  each  other’s  hands.  The  que'qutsa  surrounded  the  last  in  a half 
circle,  also  holding  each  other’s  hands.  Only  the  four  speakers,  Ma/a, 
NAT  mus  95 38 


594 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


G*a/La,  A'Labala,  and  Lo'Xoaxstaak",  remained  standing  outside  the 
circle.  The  last  named  shouted  from  time  to  time  “we'i,  we'i,”  stretch- 
ing his  left  hand  upward,  while  with  his  right  hand  he  held  the  speaker’s 
staff.  The  people  responded  by  the  cry  “yu.” 

Then  Ma/a  spoke:  “ Friends,  we  have  caught  the  grandson  and  the 
sister  of  our  chief,  who  were  taken  away  by  BaxbakualanuXsUwae. 
We  thought  they  might  be  dead  and  they  might  never  return.  What 
in  the  whole  world  can  vanquish  us?  Even  BaxbakualanuXsI'wae  is 
unable  to  overcome  us.  I thought  the  Kwakiutl  might  have  killed 
these  two  young  people,  because  they  can  not  overcome  us  in  our  war 
of  property.  I am  glad  that  they  were  taken  away  by  the  spirit  of  the 
winter  ceremonial.  We  are  a long  way  from  our  village,  and  I believed 
that  the  spirit  of  the  winter  ceremonial  had  stayed  behind,  but  he  is  fol- 
lowing us  wherever  we  go.  Xow  let  us  return  to  the  woods  and  learn 
the  song  of  our  novices;  BaxbakualanuXsUwae  gives  four  songs  to  all 
the  novices  who  go  to  his  house,  and  certainly  he  has  given  songs  to 
these  two.” 

The  two  novices  now  ran  back  to  the  woods,  crying  “hap,”  and  the 
people  ran  with  them.  Here  they  sat  down.  G-a/loiL  and  Qoaqoax-st’ala 
took  their  seats  in  the  middle  of  the  whole  group.  Then  Ma/a  said : 
“Xow listen,  Koskimo!  I will  ask  our  singing  masters  to  sing  four  new 
songs  for  these  lia/mats’as.  Try  to  learn  them  as  quickly  as  you  can. 
Sing!  singing  masters;  and  put  some  words  against  the  Kwakiutl  into 
your  songs,  G-a'loiL.’’  The  first  singing  master  of  the  tribe  commenced 
his  song,  and  after  he  had  sung  one  line,  he  began  to  beat  time.  The 
people  joined  him,  and  after  he  had  sung  through  the  whole  song,  they 
tried  to  sing  it.  Xext  Qoaqoax-st’ala  sung  his  song  in  the  same  man- 
ner. Then  G-a/loiL  sang  the  third  song,  and  finally  Qoaqoax-st’ala  the 
last  one.  The  two  singing  masters  asked  the  people  if  they  liked  the 
songs,  and  T’b'kuiL  thanked  them,  saying  that  they  were  just  what  he 
had  wished  for.  Then  the  people  arose,  and  started  to  return  to  the 
village  in  the  order  indicated  in  fig.  188. 

Before  starting  they  all  put  on  head  rings  and  neck  rings  made  of 
hemlock  branches.  As  soon  as  they  reached  the  village,  Lo'Xoaxstaak11 
shouted  “wei,  wei,”  and  all  the  que'qutsa  responded  “yu.”  Then  the 
ha/mats’as  began  to  run  about  and  to  dance  in  the  circle,  and  the  people 
struck  up  the  new  songs,  beating  time  on  boards  that  were  carried  by 
some  of  the  que'qutsa.  The  maa'myaank11  also  began  to  dance,  and 
thus  they  proceeded  until  they  reached  the  dancing  house  (Plate  45). 
The  novices  were  the  last  to  enter  the  house.  There  they  danced 
around  the  fire.  The  maa'myaanku  danced  in  their  honor,  and  the  old 
ha/mats’as  joined  their  dance.  After  the  second  dance  they  were 
clothed  by  Ma/a,  and  then  they  began  to  dance  more  quietly.  After 
the  fourth  dance  they  disappeared  into  their  secret  room. 

Xow  the  Koskimo,  Xa/q’oaqtoq,  and  the  Kwakiutl  assembled  on  the 
beach  and  sat  down  in  a square.  A grandson  of  Wa/las,  the  Koskimo, 


Report  of  U.  S National  Museum,  1895  — Boas. 


Plate  45. 


The  return  of  the  Ha'mats’a. 

From  a painting  by  W.  Kuhnert. 


Report  of  U.  S.  National  Museum.  1895.  — Boas. 


Plate  46. 


The  Ha  mats’ as  of  the  Koskimo  in  a Feast. 


THE  KWAKIUTL  INDIANS. 


595 


was  going  to  buy  a copper.  A number  of  speeches  were  made,  and  a 
woman  danced  for  Wa/las,  for  whom  the  people  sang  a song  of  joy. 
During  the  feast  that  followed  this  purchase,  the  ha/mats’as  of  the 
Koskimo  sat  on  a platform  with  blackened  faces,  behind  the  que'qutsa. 
(Plate  46). 

The  members  of  the  seal  society  of  the  Kwakiutl  were  still  confined 
to  the  dancing  house,  but  every  now  and  then  they  rushed  out  of  it  and 
knocked  the  people  down.  The  ha/mats’as  hit  them,  and  they  broke 
canoes,  dishes,  and  other  things. 

In  the  evening  the  Koskimo  had  their  t’EhnsEla.  When  the  four 
messengers  were  sent  out  to  invite  the  people,  the  host  blew  four  times 
upon  them,  and  their  head  rings  were  strewn  with  down.  At  this  time 
the  ha/mats’a  rushed  out  of  his  secret  room,  ran  around  the  fire,  and 
out  of  the  door.  As  soon  as  he  appeared,  all  the  people  who  hap- 
pened to  be  in  the  house  took  up  sticks,  or  whatever  they  could  lay 
their  hands  on,  and  beat  time  rapidly.  In  the  evening  the  people 
assembled.  The  Kwakiutl  and  Xa'q’oaqtoq  took  up  the  front  corners. 


q q q 


qqqqqqqqqq 
q 
q 
q 
q 
q 

s 


mmmmmromm 

mmmmmmram 

mmmmmrainm 


b 


b b 


b 


b a a b 


c c c c 


d d d d 


qqqqqqqqqq 
q 
q 
q 
q 
q 

s 


nimmmmmmm 
mmmm  mm  mm 
mmmmmmmm 


Fig.  188. 

THE  RETURN  OF  THE  NOVICE. 

Order  of  procession : ( a ) The  novices;  (b)  the  old  ha/mats’as;  (c)  the  ma/maq’as;  ( d ) the  speakers; 
(m)  the  maa'myaanku ; ( q ) the  que'qutsa ; ( s ) the  singing  masters. 


When  all  were  assembled,  the  speakers  of  the  Koskimo  came  in, 
their  faces  blackened.  They  were  followed  by  a man  carrying  a ring 
to  which  many  small  horns  were  attached.  As  soon  as  they  entered, 
the  people  beat  time  and  sang  while  they  were  going  to  the  rear  of 
the  house..  Then  the  man  who  carried  the  ring  went  to  the  rear  of  the 
house  singing  and  beating  time  for  himself.  Another  person,  who 
held  two  lances  wound  with  cedar  bark,  made  a speech,  which  was  fol- 
lowed by  another  song  of  the  man  wearing  the  head  ring.  After  this 
the  speaker  took  off  the  head  ring  and  explained  the  meaning  of  the 
horns.  He  said:  “ These  seven  horns  have  been  put  on  to  the  ring  by 
BaxbakualanuXsI'wae.  They  belong  to  the  ring  of  Xo'aqala,  the 
ha/mats’a.  He  obtained  it  from  G*e'xdEn.  He  had  two  neck  rings 
which  were  held  by  the  ka/nqalaLala  of  BaxbakualanuXsI'wae.  The 
white  rings  which  are  fastened  to  his  hemlock  rings  are  the  stars  and 
the  one  in  front  is  the  sun.  The  red  lines  on  his  cheek  are  the  blood 


596 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


which  flowed  down  where  BaxbakualanuXsi'wae  rubbed  G*e'xdEn. 
White  cedar  bark  is  flowing  down  from  the  rear  part  of  his  ring.” 

Now  people  were  heard  singing  outside,  but  before  they  entered  some 
blankets  were  distributed.  Three  or  four  speakers  who  carried  lances 
stepped  into  the  doorway.  Then  a dancer  entered  singing;  his  whole 
face  was  blackened.  The  speaker  closed  his  mouth  with  his  hands, 
compelling  him  to  stop  singing,  and  spoke  to  him.  The  dancer  replied : 
“Nothing  is  heard.”  The  speaker  left  him.  He  continued  his  song. 
Then  he  danced  forward  and  raised  his  hands  alternately.  His  song 
was  not  accompanied  by  any  beating  of  time.  His  head  ring  had  a 
horn  in  front.  During  this  time  the  speakers  were  talking.  Finally 
the  dancer  was  taken  to  the  rear  of  the  fire  by  the  speaker  who  held 
the  lance.  Now  the  singers  began  to  sing  again.  QE'ldetsEin  and 
another  old  man  performed  a dance,  and  blankets  were  given  away. 
Some  blankets  were  held  around  the  fire  while  the  distribution  was 
going  on.  During  this  time  the  speaker  who  carried  the  lances  went 
to  the  door  and  four  women  went  out. 

Now  the  speaker  ordered  the  people  to  sing,  and  a ha'mats’a,  accom- 
panied by  one  assistant,  entered.  The  beating  of  time  continued  for 
some  time  before  the  singing  began.  When  the  ha'mats’a  had  reached 
the  rear  of  the  house,  seven  women  entered  dancing.  One  of  them 
remained  standing  near  the  door,  while  the  others  danced  around  the 
fire.  In  the  dances  of  the  Koskimo,  one  woman,  whose  duty  it  is  to 
sing  all  the  secret  songs,  remains  standing  in  the  doorway  during  the 
whole  ceremony.  At  the  end  of  the  second  dance  of  the  ha'mats’a 
some  of  the  women  danced  out  of  the  house  again.  After  his  first 
circuit  the  ha'mats’a  danced  once  to  the  right  and  once  to  the  left,  in 
the  rear  of  the  house,  and  disappeared  behind  the  curtain. 

Now  blankets  were  again  distributed  in  honor  of  the  preceding 
dance.  Again  the  women  were  heard  singing  outside.  They  entered, 
dressed  in  blankets,  and  imitating  the  motions  of  birds,  and  thus  they 
danced  to  the  rear  of  the  house,  where  they  remained  standing.  They 
were  followed  by  the  speaker,  who  carried  the  lance.  One  of  them  sang, 
while  the  others  danced  in  the  rear  of  the  house.  Then  blankets  were 
distributed  among  the  Na'q’oaqtoq.  Next  a speaker  whose  face  was 
blackened  went  out. 

Then  the  ma'maq’a  entered,  wearing  a blanket.  Men  and  women 
were  talking  to  him.  He  put  his  hands  on  a baby  that  was  sitting 
in  Ihe  lap  of  its  mother,  and  blew  on  it.  Then  he  spoke  in  front  of 
the  curtain,  and  the  people  replied  “wo.”  Next  Qu'ldetsEm  appeared 
from  behind  the  curtain,  dancing.  He  was  followed  by  the  speaker 
carrying  a lance  and  a man  who  carried  his  child  on  his  arms.  The 
child  wore  a ha'mats’a  head  mask.  After  they  had  gone  around  the 
fire  once,  the  singers  began  their  song  and  the  women  danced.  Some 
speeches  followed. 

Now  the  arrival  of  new  dancers  was  announced.  A ha'mats’a  entered 


THE  KWAKIUTL  INDIANS. 


597 


witli  his  assistants.  The  people  sang  for  him.  After  he  had  danced 
around  the  fire  once  in  a squatting  position,  he  danced  a second  circuit 
standing.  He  wore  a short  blanket  and  dancing  apron,  a thin  round 
neck  ring,  and  a flat  head  ring  with  small  white  rings  on  the  front  and 
sides.  During  his  dance  he  squatted  down  every  now  and  then  and 
danced  a few  steps  in  long  leaps.  Finally  he  disappeared  behind  the 
curtain.  His  mother  remained  standing  in  the  doorway  and  danced  for 
him.  Again  the  speaker  delivered  a speech  and  began  to  distribute 
blankets.  By  this  time  it  was  half  past  eleven. 

The  women  had  become  hungry,  and  were  eating  in  the  rear  of  the 
house,  and  uttering  the  calls  of  their  societies  every  now  and  then. 

A new  dancer  was  announced.  The  singers  began  to  beat  time,  and 
a woman,  a t’o'X’uit,  entered  dancing,  her  palms  stretched  forward 
and  upward.  A second  woman,  and  two  men  who  carried  guns  and 
blankets,  followed  her.  She  was  painted  black  in  the  following  man- 
ner : Her  right  cheek  was  all  black,  while  on  the  left  cheek  two  vertical 
lines  extended  down  the  whole  face  near  the  nose.  Two  horizontal 
lines  ran  from  the  lips  to  the  ear,  one  a little  above,  the  other  a little 
below,  the  mouth.  A long  conversation  developed  between  herself 
and  the  speaker.  The  people  beat  time  twice.  They  divided  into 
two  parties  and  discussed  how  they  would  try  her.  One  party  went 
to  the  door  and  fetched  weapons,  saying  that  they  would  kill  her, 
to  see  if  her  guardian  spirit  would  protect  her.  Others  said  they 
would  much  rather  split  her.  Then  the  mother-in-law  of  the  tfo'X’uit 
stepped  between  the  two  parties  and  asked  them  rather  to  kill  her; 
but  when  she  was  beginning  to  strip  off  her  blanket  and  shirt  they  ridi- 
culed her,  asking  if  she  was  not  ashamed  to  strip  in  front  of  so  many 
people,  and  led  her  away.  The  young  woman  spoke  again.  Then  the 
men  went  out.  The  speakers  who  held  their  lances  talked,  and  after  a 
short  time  the  three  men  returned.  Some  men  holding  paddles  and 
staffs  were  standing  in  the  front  row  in  the  rear  of  the  house.  Then  a 
woman  and  a girl  ran  out  of  the  door  and  great  excitement  prevailed 
among  the  people  in  the  rear  of  the  house.  One  man  cried:  “I  am 
the  si'siuL.”  Now  the  t’d'X’uit  took  off  her  blanket  and  shirt  and  sat 
clown.  Then  they  led  a girl  around  the  fire  to  the  rear  of  the  house. 
' The  girl  carried  a knife.  During  this  time  one  of  the  Koskimo  women 
was  singing.  Now  the  speaker,  whose  face  was  blackened,  took  a 
paddle  out  of  the  hands  of  one  of  the  men.  The  woman  sat  down  in 
the  rear  of  the  fire,  in  front  of  the  singers.  He  stepped  up  to  her 
while  the  other  woman  was  dancing,  her  hands  raised  and  trembling. 
Four  times  the  man  went  around  the  woman.  Every  time  he  stood 
behind  her  he  raised  his  paddle  as  though  he  was  going  fo  strike  her. 
The  fourth  time  he  really  struck  her  and  the  paddle  entered  deeply 
into  her  shoulder  and  blood  was  seen  to  flow  down.  Now  grease  was 
poured  into  the  fire,  so  that  the  house  was  lit  up,  and  the  woman  arose 
and  turned  slowly,  that  everybody  might  see  the  paddle  sticking  in  her 


598 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


shoulder.  The  singers  were  heating  time,  and  she  sat  down  again. 
The  paddle  was  pulled  out,  apparently  with  great  difficulty.  The 
shamans  stepped  up  to  her  and  cried  “hoi,  hoi,  lioifff,”  and  blew  upon 
her.  Now  the  people  began  a song,  during  which  the  shamans  con- 
tinued to  sing  over  her.  QE'ldetsEin  also  put  his  hands  on  her  head 
and  chest  and  shoulders,  crying  “hoi,  hoi,  hoifff.”  While  this  was 
going  on,  some  of  the  women  arose  from  their  places  and  danced. 
Then  the  two  shamans  who  had  been  working  over  her,  raised  her  to 
her  feet,  and  led  her  around  the  fire.  The  blood  had  ceased  to  flow, 
but  a deep  cut,  beginning  at  the  right  breast  and  going  across  her 
shoulder  far  down  the  back,  was  clearly  visible.  Then  all  the  people 
cried  “hu,”  and  she  went  out.  Now  a Na'q’oaqtoq  spoke,  and  blankets 
were  distributed. 

At  12.30  a new  dance  began.  The  girl  who  in  the  preceding  dance 
had  carried  a knife  came  from  behind  the  curtain  and  danced.  A 
number  of  women  danced  in  her  honor,  and  the  same  old  woman  who 
had  stayed  in  the  doorway  continued  dancing  there.  One  old  woman 
was  dancing,  holdiug  her  pipe  in  her  mouth.  A song  was  sung,  and 
then  one  of  the  Koskimo  delivered  another  speech,  holding  a short  staff 
in  his  hands.  Whenever  a name  was  called,  he  raised  the  staff*  high 
and  held  it  so  that  the  ends  rested  against  his  palms. 

As  the  people  became  hungry  by  this  time,  a woman  threw  dried 
salmon  among  the  people,  first  to  the  members  of  the  secret  society  of 
the  Koskimo,  then  to  the  others.  When  they  were  eating,  the  societies 
again  uttered  their  calls. 

Now  a new  dance  was  announced.  A woman  entered,  wearing  a flat 
ring,  the  front  of  which  was  set  with  feathers.  She  carried  a bundle  of 
red  cedar  bark  in  her  hands.  Her  eyes  and  cheeks  were  painted  black. 
When  she  was  shaking  the  bundle  of  bark,  it  gave  a rattling  noise.  The 
people  gave  her  a pipe,  a stick,  and  other  things,  and  whatever  she 
carried  gave  a rattling  noise.  The  people  took  it  from  her  again,  but 
were  unable  to  produce  the  same  sound.  Then  they  beat  time  again. 
She  went  once  around  the  fire,  looking  upward  and  shaking  her  bundle 
of  bark,  and  holding  it  as  though  she  was  going  to  throw  it.  Then  she 
stood  in  the  rear  of  the  fire  and  sang  her  song.  She  gave  her  cedar  bark 
to  one  of  the  messengers  and  took  a staff  in  its  place,  which  she  carried 
around  the  fire  and  made  it  rattle;  another  person  tried  it,  but  it  did 
not  give  a sound.  Next  she  took  a pipe  of  one  of  the  Na/q’oaqtdq  and 
made  it  rattle  in  the  same  manner.  Then  she  disappeared  behind  the 
curtain.1  After  some  speeches,  four  young  men  went  out,  and  several 
old  people  followed  them,  bringing  food. 

Then  members  of  the  Wa/tanEm  danced.  After  their  dance  more 
blankets  were  distributed.  While  the  people  w^ere  still  eating,  whistles 
imitating  the  raven’s  cry  were  heard  outside.  This  was  about  1.30  a.  m. 
The  speaker  asked  the  people  to  beat  time.  Then  the  lia/mats’a  entered 


Seepage  492. 


THE  KWAKIUTL  INDIANS. 


599 


with  four  assistants,  who,  however,  had  no  rattles.  Two  women  danced 
in  his  honor.  During  the  second  song  a great  many  women  were 
dancing  for  him.  Two  bloody  lines  were  painted  on  each  cheek,  run- 
ning in  a wide  circle  downward  from  the  corners  of  the  mouth  to  the 
eyebrows.  He  came  in,  in  a great  state  of  excitement,  and  attacked 
his  assistants,  who  were  in  front  of  him.  After  three  songs  he  was  led 
out  of  the  house.  This  dance  ended  at  2 o’clock,  and  more  blankets 
were  distributed. 

A new  dance  was  announced,  and  a ha'mats’a  entered,  his  face 
painted  all  black.  A hemlock  branch  was  fastened  in  front  of  his 
bead  ring.  The  front  of  his  blanket  was  adorned  with  small  white 
rings.  QETdetsEin  pointed  out  the  blanket  and  said  that  it  was  the 
blanket  of  Gbe'xdEn.  He  danced  four  times.  At  his  third  dance  he 
wore  a blanket  which  showed  the  si'siuL  around  its  border.  In  the 
middle  of  the  back  was  painted  a squatting  man  whose  palms  were 
represented  by  carved  wooden  skulls  which  were  sewed  onto  the  blan- 
. ket.  The  knees  and  the  head  were  represented  in  the  same  way.  One 
carved  skull  was  also  sewed  onto  the  blanket  on  each  side,  outside  the 
figures.  He  also  wore  a carved  skull  in  front  and  one  in  the  back  of  his 
cedar  bark  head  ring.  When  he  came  in,  five  old  ha/mats’as  danced  for 
him,  while  three  stood  in  the  door  in  order  to  prevent  people  from  going 
out.  Six  songs  were  sung  for  him.  During  the  first  and  second  songs 
one  woman  was  dancing  for  him.  After  his  dances  he  was  led  out  of 
the  house.  The  speaker  addressed  the  people,  who  beat  time  and  said 
Uhu.” 

Now  the  sound  of  whistles  and  the  cries  of  a ha/mats’a  were  heard 
outside.  The  same  ha/mats’a  reentered,  and  danced  one  circuit  and  a 
half  around  the  fire,  while  the  women  were  dancing  in  his  honor.  His 
k-i'nqalaLala  danced  in  front  of  him.  When  they  stopped  in  the  rear 
of  the  house,  both  squatted  down,  and  their  attendants  stood  around 
them.  After  the  fourth  dance  they  disappeared  behind  the  curtain. 
Then  more  blankets  were  distributed. 

At  3.15  women  were  heard  singing  outside.  A man  entered  singing, 
followed  by  a woman.  Two  pairs  of  bloody  lines  were  drawn  on  her 
cheeks,  running  downward  in  a wide  circle  from  the  mouth  to  the  ear. 
She  sang  her  secret  song.  She  danced  as  t’b'X’uit,  trying  to  catch  her 
supernatural  power.  As  soon  as  she  moved  her  hands  upward,  trying 
to  catch  it,  the  women  began  to  dance  in  her  honor.  Now  she  caught 
it  between  her  hands  and  threw  it  forward.  At  once  a flying  sI'siuL 
was  seen  in  the  rear  of  the  house,  moving  rapidly  to  the  right  and  to 
the  left  and  trembling  all  the  time.  As  soon  as  the  si'siuL  disappeared 
again,  all  the  dancing  women  put  their  palms  together  as  though  they 
had  caught  the  supernatural  power.  Then  blankets  were  distributed. 

At  4 o’clock  a woman  came  from  behind  the  curtain,  singing.  She 
was  followed  by  a ghost  dancer,  who  had  a large  thick  ring  of  cedar 
bark  with  an  enormous  horn  in  front,  set  with  feathers,  which  were 


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REPORT  OF  NATIONAL  MUSEUM,  1895. 


waving  to  and  fro  on  long  shafts.  It  had  a long  trail  behind.  The 
speaker  followed  her.  The  people  sang  and  women  danced  in  her  honor. 
She  disappeared  behind  the  curtain,  and  blankets  were  distributed 
again. 

Now  a song  was  heard  outside.  The  speaker  asked  the  singers  to 
beat  time.  A man  entered  singing.  His  body  was  naked,  but  he  wore 
a dancing  apron  and  had  cedar  bark  rings  around  his  arms  and  wrists. 
He  was  a Ba/bakuauLa,  a t’o'X’uit.  After  some  speeches  there  was  sing- 
ing, and  a woman  and  a man  danced.  They  held  their  elbows  close  to 
their  sides,  stretched  their  hands  forward,  the  palms  upward,  and  moved 
the  hands  up  and  down  in  jerky  motions.  The  Ba/bakuauLa  was  then 
placed  on  a seat  behind  the  fire  in  front  of  the  singers  and  the  speaker 
was  asked  to  pierce  him  with  his  lance.  The  singers  beat  time,  the 
speaker  took  up  the  lance  and  threw  its  point  against  the  floor,  to  show 
that  the  lance  was  solid,  and  showed  it  around  among  the  people.  Then 
he  took  up  the  lance  and  walked  around  the  Ba/bakuauLa.  After 
each  circuit  he  put  the  point  against  the  left  side  of  Ba/bakuauLa,  and 
then  continued  his  circuit.  After  he  had  gone  around  him  four  times, 
he  once  more  put  the  lance  against  his  left  side  and  began  to  push  it 
in.  Apparently  the  point  entered  the  body,  blood  was  streaming  out 
of  his  side,  and  as  the  point  penetrated  farther  the  Ba/bakuauLa  appar- 
ently collapsed.  Finally  the  whole  length  of  the  lance  had  pierced  the 
body  and  the  point  was  seen  to  come  out  on  the  right  side  a little  below 
the  arm  pit.1  He  was  raised  so  that  the  people  could  see  his  body. 
Then  the  lance  was  pulled  out  again  slowly.  The  shamans  were  called, 
and  blew  and  sang  over  his  body,  while  the  singers  continued  their 
song.  Then  he  was  led  behind  the  curtain.  After  this,  cloths  were 
distributed  among  the  women;  the  singers  beat  time  and  cried  “ ho.” 

This  was  the  last  dance  of  the  night.  The  Koskimo  did  not  allow 
their  guests  to  go  home,  but  invited  them  to  stay  for  a feast.  The 
ha/mats’a  still  remained  sitting  in  front  of  the  door,  preventing  anyone 
from  going  out.  They  continued  to  eat  and  to  make  speeches  until  10 
o’clock,  when  everybody  went  home  to  take  a rest. 

On  the  26th  of  November  everything  was  quiet,  as  the  people  were 
exhausted  by  the  preceding  festivals. 

In  the  afternoon  of  the  27th,  the  Kwakiutl  held  a secret  meeting  in 
order  to  determine  what  to  do.  The  seal  society  was  still  confined  to 
the  dancing  house.  K-ex-,  whose  mask  had  broken  a few  days  ago 
during  the  dance,  was  going  to  initiate  his  son  in  atonement  for  this 
mishap.  His  elder  son  had  died  a few  years  before,  after  he  had  been 
made  a member  of  the  ha/mats’a  society.  Referring  to  this,  he  spoke 


JThe  Ba/bakuauLa  had  a small  hook  attached  to  his  right  arm  ring  by  means  of 
which  he  pulled  up  the  skin  of  his  chest  below  the  right  arm  pit,  piercing  at  the 
same  time  a small  bag  filled  with  blood  which  was  fastened  to  the  skin,  so  that  the 
blood  was  seen  flowing  down  his  side.  This  scene  seems  to  be  the  same  as  that  of 
the  dance  described  on  p.  575. 


THE  KWAKIUTL  INDIANS. 


601 


in  tlie  secret  meeting  about  as  follows:  “Kwakiutl,  give  my  son  long 
life ! Once  I tried  to  make  my  son  a ha/mats’a,  but  tlie  deadly  Bax- 
bakualanuXsI'wae  struck  liim  and  be  died.  When  be  died,  I resolved 
not  to  make  another  child  ha'mats’a,  but  now  since  the  mask  broke  you 
all  request  me  to  initiate  my  younger  son.  I shall  do  so,  but  do  give 
him  long  life.”  At  this  point  Sl'wite,  an  old  blind  man,  interrupted 
him,  saying:  “ Don’t  be  overbearing  and  don’t  let  him  have  more  than 
two  songs,”  meaning  that  if  he  gave  him  four  songs  the  boy  should  die. 
Then  all  the  people  scolded  and  blamed  him  on  account  of  his  merciless 
words.  Xow  it  was  arranged  what  dances  were  to  be  shown  and  who 
was  to  pay  for  them.  In  the  evening  of  this  day,  K*ex*’s  wife  disap- 
peared all  of  a sudden.  Her  clothing  was  found  on  the  beach,  and  it 
was  announced  that  she  was  to  return  as  q’o'minbqa  on  the  following 
day.  In  the  evening  the  Kwakiutl  held  their  k-ik-idnala  in  order 
to  bring  back  their  novices.  I will  give  only  a brief  description  of 
their  festival,  as  the  details  resemble  that  of  the  Koskimo.  In  the 
beginning  the  societies  came  in  one  after  the  other — first  the  killer 
whales,  then  the  birds,  etc.  One  man  came  in  alone  carrying  a staff  as 
though  he  was  shooting  with  it,  and  crying  “hu.”  The  people  sang 
when  he  came  in.  Then  they  tore  blankets  and  distributed  the  strips. 
About  11  o’clock  in  the  evening  K*ex*  appeared  carrying  several  spread 
tongs,  while  others  followed  him  carrying  staffs  which  they  held 
stretched  forward.  They  wore  plain  head  rings.  The  spread  tongs  were 
given  away.  They  designated  gifts  of  canoes.  At  this  time  La/g*us 
delivered  a speech.  Xow  all  had  assembled  except  the  members  of  the 
seal  society.  They  came  in  last  and  stepped  to  the  rear  of  the  house, 
while  Ho'LElite  made  a speech. 

Xow  began  the  dances.  The  fool  dancers  were  heard  outside,  and 
they  entered  wearing  masks  and  enormous  noses.  One  of  them  had 
liis  face  painted  black  and  red.  The  people  sang  and  the  women 
danced.  After  this  dance  Ha/nrisilak11  gave  away  a gun  and  blanket. 
A man  carrying  a rattle  was  stationed  in  the  doorway,  and  announced 
with  his  rattle  the  arrival  of  every  new  dancer.  After  every  dance, 
blankets  were  distributed  or  other  presents  were  made,  but  I shall  not 
describe  this  every  time.  The  distribution  of  blankets  occupied  by  far 
the  greater  portion  of  the  night. 

The  next  dancer  was  an  old  woman,  bent  by  age,  who  came  in.  Her 
face  was  painted  red  and  black. 

After  a speech,  made  by  La/g-us,  a bear  dancer  came  in.  His  face 
was  all  black.  He  wore  an  enormous  head  ring.  Two  men  followed 
him  and  carried  the  blankets  which  were  given  away  after  his  dance. 
As  soon  as  these  blankets  were  distributed,  a young  bear  dancer 
appeared  from  the  corner  of  the  house  and  scratched  the  ground  while 
the  people  were  singing  and  women  were  dancing  for  him.  Then  he 
disappeared  again. 

About  midnight  a new  fool  dancer  entered,  led  by  a blanket  which 


602 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


was  tied  around  his  waist,  and  tlie  people  sang.  After  Ms  circuit  be 
disappeared  behind  the  curtain.  Ha/inasaqa  delivered  a speech  for  him. 
He  said:  “The  time  of  fighting  has  passed.  The  fool  dancer  repre- 
sents the  warriors,  but  we  do  not  fight  now  with  weapons ; we  fight  with 
property.”  These  words  referred  to  the  fact  that  the  man  whose  place 
this  dancer  had  taken  had  killed  a chief  of  the  Nanai'mo  and  many 
others.  Then  Ha/masaqa  turned  to  the  Koskimo  and  said:  “ It  is  not 
right  that  in  your  k-ik-i'lnala  you  distributed  many  blankets.  It  is 
not  customary  to  do  so,  but  now  I will  show  you  tvhat  we  can  do.”1 

Next  a bear  dancer  entered,  wearing  a copper  around  his  neck.  He 
was  followed  by  two  men  who  carried  blankets.  Women  danced  for 
him.  Now  E'wanuXts’e  took  the  copper  and  spoke.  He  gave  it  to  the 
Na/q’oaqtoq.  This  copper  had  been  given  by  a Na/q’oaqtoq  to  his  Kwa- 
kiutl  wife.  Now  the  Na/q’oaqtoq  had  to  redeem  it  by  a payment  of  700 
blankets.  In  his  speech  E'wanuXts’e  held  it  by  its  lower  end,  thus 
indicating  that  he  was  going  to  take  not  more  than  half  the  price  of 
the  copper  as  payment  in  full.  After  this  La/g-us,  who  was  now  stand- 
ing in  the  doorway,  delivered  a speech.  He  said : “What  is  the  matter 
with  our  house?  It  is  shaking.”2 

Next  another  bear  entered.  Ho  was  caught  by  K-ex-  and  led  to  the 
rear  of  the  house  while  the  people  were  singing.  After  a speech  made 
by  Ha/masaqa,  another  bear  dancer  entered,  followed  by  a woman  who 
carried  a copper.  Her  mother  danced,  and  during  her  dance  a fool 
dancer  was  heard  outside.  La/g-us  spoke,  holding  the  copper.  Then 
he  gave  it  to  Ho'LElite,  who  replied.  K-ex-  handed  a number  of  bun- 
dles of  sticks  to  Ho'LElite,  who  spoke  about  them  and  distributed  them. 
Then  he  returned  the  copper  to  La/g-us,  who  took  it  to  a fool  dancer. 

About  1 o’clock  another  fool  dancer  entered,  who  was  brought  to  the 
rear  of  the  house  by  K-ex-. 

By  this  time  a man  carrying  his  baby  appeared  as  fool  dancer,  coming 
from  the  rear  corner  of  the  house. 

Next  another  fool  dancer  entered,  and  then  a bear,  who  was  led  by  a 
blanket  which  was  tied  around  his  waist.  The  man  who  led  him  wore 
a large  neck  ring  of  hemlock  branches,  which  represented  a copper  that 
was  to  be  given  away  for  the  bear  dancer.  A speech  was  made,  and 
the  ring  was  thrown  into  the  fire. 

At  this  moment  the  whistles  of  the  ha/mats’a  were  heard.  All  of  a 
sudden  Ya/qois  became  excited  and  jumped  down  from  his  seat.  His 
assistants  and  two  k-i'nqalaLala  rushed  after  him,  and  after  he  had 
danced  around  the  fire  once  they  all  went  out  of  the  house. 

At  2 a.  m.  another  fool  dancer  wearing  a large  nose  entered.  After 
one  circuit  he  ran  out  and  came  back  without  a mask  while  the  people 
were  singing. 

Next  a boy  who  was  to  be  a pa'xala  dancer  was  brought  forward 

leaning  that  the  Kwakiutl  were  going  to  distribute  still  more  property. 

2 Meaning  that  the  weight  of  the  blankets  which  were  piled  up  in  it  made  it  shake. 


THE  KWAKIUTL  INDIANS. 


603 


from  the  rear  of  the  house.  The  man  who  carried  him  turned  once  in 
the  rear  of  the  house,  and  once  in  front.  The  boy  was  said  to  see  some- 
thing supernatural  coming,  and  was  carried  out  of  the  house. 

After  blankets  were  distributed  the  ha/mats’a  reentered,  the  kd'n- 
qalaLala  dancing  before  him. 

Next  a bear  dancer  entered,  dressed  in  a complete  bear  skin,  to  which 
a mask  was  attached.  The  women  danced  for  him,  holding  their  hands 
close  to  the  body,  not  raised,  as  is  usually  the  case.  After  one  circuit 
the  bear  left  the  house  again. 

About  3.30  a.  m.  two  women  entered,  the  first  wearing  a wide  ring 
of  cedar  bark.  The  following  dancer  was  a lia'mshamtsEs,  who  danced 
with  short,  quick  steps  without  moving  her  body.  She  wore  a head  ring 
set  with  ermine,  and  a button  blanket  ornamented  with  a thunder  bird 
and  a killer  whale.  She  had  two  heavy  black  lines  running  down  her 
face,  and  two  horizontal  ones  crossing  them.  She  left  the  house  after 
one  circuit. 

The  next  dancer  was  a girl,  who  was  ushered  in  by  her  father.  The 
people  were  singing  and  the  girl’s  mother  stepped  up  to  her,  encour- 
aging her  to  dance,  but  as  she  could  not  induce  the  child  to  do  so, 
she  danced  herself,  wearing  a red  blanket.  Now  Ha/masaqa  made  a 
speech. 

About  5 oclock  in  the  morning  two  hahnshamtsEs  entered.  They 
were  followed  by  the  ha/mats’a,  accompanied  by  four  assistants. 

The  next  dancer  was  hakalik-ilaL.  She  cried  ush,  hoip,  hoip.” 
She  wore  a large  ring  of  red  cedar  bark  having  four  vertical  horns,  which 
extended  downward  in  long  tassels  of  bark.  She  had  a large  round 
neck  ring.  Her  blanket  was  set  with  tassels  made  of  red  and  white 
bark.  Attached  to  the  back  part  of  her  rings  was  a tie  looking  like  a 
cross.  The  two  messengers  who  stood  at  the  door  led  her  around  the 
fire  once.  Then  she  went  out  again.  After  a short  time  she  reentered. 

At  5.15  a.  m.  a hahnshamtsEs,  wearing  a round  neck  ring  set  with 
four  tassels,  danced.  The  two  messengers  led  her  around  the  fire,  then 
she  went  out  again.  They  returned  and  spoke  to  Ho'LElite.  After 
this  the  people  beat  time  and  the  dancers  disappeared. 

At  5.30  a new  dancer  ajjpeared,  wearing  hemlock  branches  around 
his  head  and  neck.  He  danced  with  short,  quick  steps,  and  was  led  by 
the  two  messengers  to  the  rear  of  the  house.  He  wore  a blue  blanket 
and  a dancing  apron  set  with  shells.  He  was  the  pa'xalalaL.  He 
danced  in  the  rear  of  the  house  without  moving  from  his  place;  his 
whole  body  was  shaking.  Two  songs  were  sung  for  him  and  the  women 
danced.  After  a speech  made  by  Ho'LElite  he  left  the  house  again. 

The  next  dancer  was  a Ts’o'noqoa,  who  entered  dressed  in  a bearskin, 
which  was  attached  to  her  mask.  She  rubbed  her  eyes  and  shouted 
aou,  ou.”  Then  the  people  sang,  and  she  went  out  again. 

A new  song  which  was  heard  at  the  door,  was  taken  up  by  the 


604 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


singers  in  the  rear  of  tlie  house.  A t’o'X’uit  woman,  wearing  a head  ring 
of  hemlock  branches,  but  no  neck  ring,  appeared.  She  held  her  elbows 
to  her  sides,  and  her  hands  forward,  palms  upward.  She  raised  them 
and  lowered  them  alternately.  The  song  was  in  a three- part  rhythm,  and 
she  walked  limping,  one  step  being  on  the  quarter  mora  of  the  rhythm, 
the  second  step  on  the  half  mora  of  the  rhythm,  while  she  was  singing 
her  secret  song.  After  each  line  of  her  song  the  chorus  continued  it. 
She  sang:  “ Ya,  ya,  ye.” 

Xow  Ho'LElite  stepped  up  to  her  and  spoke.  She  replied  with  the 
exclamation  “up,  up,”  pointing  to  her  chest,  meaning  that  the  people 
should  split  her.  Then  she  moved  her  hands  in  the  same  way  along  her 
neck,  meaning  that  they  should  cut  off  her  head.  Ho'LElite  proposed 
to  throw  her  into  the  fire,  but  after  some  talk  this  idea  was  abandoned. 
The  people  beat  time  again.  She  began  to  dance,  and  caught  her  super- 
natural power  between  her  palms.  After  she  had  done  so  twice,  she 
said  again  “up,  up,”  touching  her  stomach  with  her  palms  several 
times,  meaning  “take  out  my  intestines.”  Then  she  tried  again  to  catch 
her  supernatural  power,  and  during  this  time  Ho'LElite  walked  around 
her,  shouting  “up.”  Xow  she  tried  the  fourth  time  to  catch  her  super- 
natural power.  At  once  whistles  were  heard.  A bird  was  seen  flying 
down  from  the  roof,  and  a no'nLEmg-ila  figure  arose  from  underground. 
The  fourth  time  a feather,  which  represents  the  horn  of  the  sUsiuL, 
came  up  from  underground  and  moved  trembling  along  the  rear  of  the 
house.  She  went  up  to  it,  and  all  of  a sudden  she  began  to  disappear 
in  the  ground.  One  man  took  hold  of  her,  trying  to  rescue  her,  but 
his  hands  and  forearms  disappeared  in  the  ground  down  to  his  elbows. 
Several  men  took  hold  of  him  in  order  to  rescue  him.  Then  he  was 
apparently  dragged  through  the  whole  house  by  the  tVX’uit,  who 
had  disappeared  underground.  He  passed  by  circuitous  movements 
through  the  whole  house,  plowing  up  the  ground.  Finally  he  seemed 
to  lose  the  woman,  and  fell  backward.1 

After  the  t’o'X’uit  had  disappeared  in  the  ground,  a second  one 
commenced  to  dance.  The  underground  motions  of  the  first  were  led 
by  the  dancing  woman,  who,  with  the  movements  of  her  hands,  tried 
to  bring  her  up  again.  This  second  t’o'X’uit  was  followed  by  one  man. 
Finally  she  left  the  house,  and  blankets  were  distributed  while  Ho'le- 
lite  delivered  a speech.  Xow  a song  was  heard  on  the  beach  outside 

'Tliis  performance  Lad  been  prepared  during  the  preceding  days,  when  the  mem- 
bers of  tbe  seal  society  kept  everybody  away  from  the  house.  A deep  ditch  had  been 
dug  in  the  rear  of  the  house,  in  which  the  t’d'X’ult  disappeared.  A shallow  ditch  had 
been  dug  all  through  the  house.  A heavy  rope  had  been  placed  in  this  ditch,  which 
was  filled  with  loose  dirt.  The  man  who  seemed  to  hold  the  tVX’uit  pulled  himself 
along  this  rope.  Unfortunately  the  rope  had  been  laid  too  near  the  fireplace  and 
was  burnt.  Thus  it  happened  that  the  man  had  to  let  go.  The  original  plan  was  to 
pursue  the  t’o'X’uit  to  the  front  right  corner  of  the  house,  where  she  was  to  appear 
again  from  out  of  another  ditch  which  was  connected  with  the  ditch  in  the  rear  of 
the  house  where  she  had  disappeared. 


THE  KWAKIUTL  INDIANS. 


605 


tlie  house.  A messenger  ran  around  the  fire,  went  out  of  the  house, 
and  returned. 

Next  La/g'us  entered,  holding  a broken  copper  in  his  teeth.  He  was 
followed  by  a girl.  Then  one  man  entered  who  wore  a neck  ring.  He 
bad  two  companions  who  carried  rattles.  Another  man  carrying  a 
copperplate,  and  two  more  men,  followed.  The  people  sang  a ha/mats’a 
song.  The  girl  wore  a head  ring  with  ermine  trimmings  and  large 
abalone  shells.  She  moved  her  hands  like  a ha/mats’a.  She  was  clad 
in  a button  blanket  with  ermine  trimmings.  Now  La/g-us  broke  off  a 
piece  of  the  copper  and  threw  blankets  into  the  fire.  All  this  time  her 
mother  carried  the  rattle.  The  girl  went  out  again. 

Next  Ho'LElite  took  a rattle,  turned,  and  went  around  the  fire  twice. 
Then  he  listened  to  see  if  the  new  ha/mats’a  was  coming  back.  He 
listened  three  times.  Now  whistles  were  heard,  and  the  noise  of  a man 
running  round  the  roof  of  the  house.  Suddenly  the  roof  boards  were 
pushed  aside.  A boy  jumped  down  with  a head  ring  of  hemlock  and 
quartz  crystals  attached  along  the  median  line  of  his  head.  He  had  an 
apron  of  hemlock  branches.  He  jumped  first  upon  the  roof  of  the  bed- 
rooms in  the  rear  of  the  house,  and  from  there  down  to  the  floor.  He 
danced7  his  hands  close  to  the  rear  side  of  his  thighs,  running  with  short 
quick  steps  and  bending  rhythmically.  Then  he  ran  out.  He  was  the 
Ma/tEm.  As  soon  as  he  left  the  house  the  ha'mats’a  cried  ahap.’7 
Nu'xnemis  then  made  a speech.  The  whistles  of  the  ha/mats’a  were 
heard  in  the  door,  where  the  k-inqalaLala  appeared  singing.  The 
assistants  surrounded  the  ha/mats7a  and  ran  with  him  around  the  fire. 
Then  they  went  out.  Now  blankets  were  carried  into  the  house,  and 
the  new  ha/matsA  appeared  naked,  and  danced.  His  kknqalaLala  were 
singing  and  dancing  before  him.  This  ended  the  festival. 

December  3. — The  Kwakiutl  gave  the  dance  Walas’axa/.  The  people 
assembled  in  the  evening  in  the  dancing  house  of  the  Kwakiutl.  A 
curtain  was  drawn  right  across  the  rear  of  the  house,  behind  which 
the  members  of  the  seal  society  first  disappeared.  After  one  of  the 
Koskimo  had  given  away  some  blankets,  a fool  dancer  came  out  at 
the  rear  right-hand  corner  of  the  curtain  and  danced  around  the  fire. 
A few  women  danced  for  him.  Then  he  disappeared  again  behind  the 
curtain.  E'wanuXts’e  and  his  speaker  remained  standing  during  this 
dance  and  the  following  ones,  facing  the  curtain  in  front  of  which  the 
singers  were  sitting.  The  next  dancer  was  a bear,  who  also  appeared 
from  behind  the  curtain.  Then  the  people  sang  and  an  old  woman 
danced  for  him. 

After  some  blankets  had  been  distributed,  a ha'mshamtsEs  song 
was  struck  up,  and  a woman,  accompanied  by  two  assistants,  appeared 
from  behind  the  curtain.  She  wore  the  ha'mshamtsEs  head  ring  and 
neck  ring.  The  same  old  woman  who  had  danced  before  and  several 
others  danced  tor  her.  Her  movements  were  similar  to  those  of  the 
ha/mats’a,  but  she  did  not  tremble.  During  the  first  line  of  the  song 


606 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


she  raised  her  hands  and  danced  in  the  same  manner  as  the  other  women 
do.  She  disappeared,  and  after  some  speeches  a new  song  was  sung 
and  she  came  out  again  with  three  assistants, 

Now  the  Walas’axa',  the  dance  of  the  clan  Gu'gdlqam,  commenced. 
Nu'xnemis  and  two  messengers  stood  at  the  right-hand  rear  entrance 
of  the  curtain.  He  gave  a signal  for  the  singers  to  beat  time  and  to 
sing,  and  out  came  a great  many  of  the  members  of  the  Kwakiutl 
tribe,  wearing  wolf  headdresses.  They  were  about  fifty  in  all,  and  as 
soon  as  they  had  stepped  out  from  behind  the  curtain  they  turned 
around  and  began  a procession  around  the  fire.  In  front  of  the  fire 
they  turned  again  and  continued  their  circuit.  They  held  their  fists 
in  front  of  their  bodies,  the  thumbs  turned  upward.  While  they  were 
walking,  they  cried  u you,  hou.”  After  they  had  gone  around  the  fire 
they  disappeared  again  behind  the  left  entrance  of  the  curtain.  La/g*us 
made  a speech,  and  then  they  began  a second  circuit  in  the  same 
manner  as  before.  When  they  had  made  their  fourth  circuit,  they 
stopped  before  entering  the  partition  again.  They  kneeled  around  the 
fire,  resting  on  their  fists  and  knees.  Now  Nu'xnemis  began  a song, 
which  was  accompanied  by  rhythmical  motions.  They  made  another 
circuit  and  disappeared  behind  the  curtain  (Plate  36). 

XI.  Ceremonials  of  the  other  Tribes  of  Kwakiutl  Lineage. 

The  winter  dance  of  the  Koskimo  begins  in  the  month  of  November. 
In  the  evening,  before  the  ceremonies  are  to  begin,  a number  of  boys  are 
sent  out  to  gather  kelp.  They  return  during  the  night  and  enter  the 
village  at  the  south  end,  blowing  on  the  tubes  of  kelp,  and  produ- 
cing a noise  like  that  of  large  horns.  At  the  same  time  a drum  is 
placed  in  the  river  so  that  the  wooden  band  is  in  the  water  while  the 
skin  is  held  just  above  the  surface.  The  beating  of  this  drum  pro- 
duces a very  loud  sound.  As  soon  as  the  young  men  have  passed 
through  the  village,  they  stop  blowing  their  kelp  horns  and  the  drum 
stops  at  the  same  time.  Then  all  the  people  in  the  houses  begin  to 
sing  their  secret  songs,  and  continue  to  sing  until  the  morning,  when 
they  come  out  of  the  houses.  Then  the  chiefs  go  from  house  to  house 
and  ask  the  people  if  they  know  what  produced  the  noise  of  the  pre- 
ceding night.  Some  will  reply  thafc  they  did  not  hear  it,  others  that 
they  heard  it,  and  still  others  that  they  had  seen  one  of  their  dead 
relatives,  who  told  them  that  he  and  the  other  ghosts  came  to  take 
the  son  or  the  daughter  of  one  of  the  inhabitants  away.  The  chiefs 
continue  to  go  from  house  to  house  until  they  come  to  that  of  the 
young  manor  young  woman  who  is  to  be  initiated  during  the  following 
ceremonies.  When  they  enter  his  room,  they  see  that  he  has  dis- 
appeared. Only  his  shirt  and  blanket  remain.  These  are  covered 
with  blood.  The  chief  seizes  the  garments,  takes  them  out  of  the 
house,  and  calls  all  the  people  together,  asking  for  the  murderer  of  the 
youth.  A great  commotion  ensues,  all  the  people  running  about.  At 


THE  KWAKIUTL  INDIANS.  607 

last  they  begin  to  blacken  their  faces  and  take  their  weapons,  ready 
to  fight  among  themselves. 

Now  all  of  a sudden  a person  is  heard  to  cry  on  the  point  of  land  at 
the  west  end  of  the  village,  “hamamamama.”  The  people  at  once  go 
to  see  who  is  there.  Now  the  master  of  ceremonies  of  the  wiuter 
dance,  whose  name  is  Ama/k,  rises,  and  begins  to  call  all  the  people  by 
their  winter  names.  The  people  are  surprised  at  his  doing  so,  and 
object.  He,  however,  does  not  listen  to  them,  and  merely  warns  them 
not  to  be  bitten  by  the  Ha/maa.  Then  he  calls  four  men  whose  names 
are  Loakwaxstaok,  WalkaLtsumt,  A'Labala,  and  Hena/wa,  and  asks 
them  to  go  in  a canoe  to  the  point  of  land  where  the  sound  was  heard, 
in  order  to  ascertain  what  produced  it.  The  four  men  rise  and  enter 
the  house,  in  which  the  lia/mats’a  assemble  at  the  same  time.  Soon 
they  come  out  again,  their  faces  blackened,  rings  of  red  cedar  bark 
around  their  heads  and  around  their  necks,  and  paddles  in  their  hands. 
The  people  inquire  why  they  are  dressed  up  in  this  manner,  to  which 
they  reply  that  it  is  a protection  against  the  lurking  danger  at  the 
point  of  land  to  which  they  are  going.  They  go  down  to  a canoe  and 
paddle  slowly  to  the  point  of  land.  As  soon  as  they  approach  it,  the 
sound  “liamamamama”  is  heard  again.  The  men  pretend  to  be  scared, 
and  paddle  back  to  the  beach.  They  ask  some  of  the  Ifdo'LalaL,  or 
ghost  dancers,  to  go  with  them. 

Then  the  master  of  ceremonies  asks  four  of  the  lolo'LalaL  to  accom- 
pany the  four  men.  The  lolo'LalaL  dress  up  and  sit  close  together  in 
the  middle  of  the  canoe  while  the  four  men  are  paddling  toward  the 
point.  As  soon  as  they  approach  it  the  same  sound  is  heard.  Then 
the  men  in  the  bow  of  the  canoe  paddle  backward  while  the  steersman 
paddles  forward  and  brings  the  canoe  up  to  the  point  of  land.  As 
soon  as  they  touch  the  land  the  four  lolo'LalaL  jump  ashore  and  run 
into  the  woods,  where  they  stay  for  a few  minutes.  Then  they  come 
back  to  the  canoe  and  sit  down  in  the  same  place  as  before.  The  other 
four  men  appear  to  be  scared,  but  not  a word  is  said.  They  paddle 
back  to  the  village,  and  when  they  come  to  the  shore,  they  inform  the 
master  of  ceremonies  that  they  shall  not  go  back  again,  because  they 
are  too  much  scared.  Upon  a question  of  the  master  of  ceremonies 
they  say  that  they  did  not  see  anything,  but  that  the  sound  scared 
them.  He  compels  them  to  return  and  to  investigate  the  cause  of  the 
noise.  The  lolo'LalaL  have  stayed  in  the  canoe  all  this  time,  waiting 
for  the  other  four  men  to  return.  They  paddle  back  to  the  point  of  land, 
and  the  four  lolo'LalaL  jump  ashore  again  and  run  into  the  woods, 
where  they  stay  a few  minutes.  They  come  back,  sit  down  in  the 
middle  of  the  canoe,  and  the  four  men  paddle  back  again  to  the  village. 
Now  the  four  loloAalaL  jump  ashore  and  go  into  the  house  of  the 
father  of  the  young  man  who  had  disappeared.  The  four  paddlers  rise 
and  say  that  they  have  seen  the  missing  youth  among  the  ghosts  at  the 
point.  The  people  all  go  into  the  house  of  the  master  of  ceremonies 


608 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


and  take  their  seats.  The  master  addresses  them,  asking  them  to  get 
ready  to  fight  the  ghosts.  He  calls  four  ya/lakuenox  (men  who  have 
secret  songs),  and  bids  them  to  stand  in  their  places — that  is,  one  in 
each  corner  of  the  house.  Now  the  master  of  ceremonies  takes  a raven 
rattle  and  steps  to  the  singer  standing  in  the  right-hand  front  corner 
of  the  house.  He  gives  him  the  rattle  and  asks  him  to  sing  the  ghost 
song : u Lo  ho  ho  ho  lo  ho  ho  ho  he  hama  ma.”  When  he  has  finished  this 
song,  the  singer  turns  to  the  right,  says  “hamamamama,”  and  returns 
the  rattle  to  the  master  of  ceremonies,  who  goes  diagonally  across  the 
house  to  the  left-hand  rear  corner.  He  gives  the  rattle  to  the  man 
standing  there,  who  repeats  the  same  song,  turns  around,  says  ‘‘hama- 
niamama,”  and  returns  the  rattle  to  the  master  of  ceremonies,  who  goes 
to  the  left-hand  front  corner  of  the  house  and  repeats  the  same  ceremony 
there.  Last  he  goes  across  to  the  right-hand  rear  corner  of  the  house 
and  gives  the  rattle  to  the  fourth  singer,  who  repeats  the  same  song, 
singing,  however,  louder  and  turning  faster  than  the  others.  After 
this  has  been  done,  the  four  men  sit  down  again.  Now  the  master  of 
ceremonies  requests  the  people  to  get  their  ornaments  of  red  cedar 
bark  and  to  dress  up.  The  people  take  them  out  from  under  their 
blankets  and  put  them  on.  Then  he  asks  the  father  of  the  novice  to 
get  some  eagle  down  and  to  strew  it  on  the  heads  of  the  people. 
After  this  has  been  done,  he  orders  the  lolo'LalaL  to  assemble  in  one 
place  in  the  house.  He  makes  the  lia/mats’a  assemble  in  another  place; 
the  liakalik-ilaL,  pa'xalalaL,  ya'yatala.L,  na'naualaq,  sefilis,  ts’e/kois, 
xoe'LxoeLawatala,  ha/winalaL,  lo/kwasdla  (or  lalaxsola)  all  assemble. 

Then  he  asks  the  people  to  prepare  to  fight  the  ghosts.  All  of  them 
leave  the  house  and  go  down  to  the  canoes,  each  society  in  a canoe  by 
themselves.  Only  the  ha/mats’a  and  the  lieTig-a  stay  ashore.  They 
paddle  toward  the  point  where  the  cry  of  the  ghosts  was  heard,  and  as 
soon  as  they  reach  there,  they  hear  again  somebody  calling  u hamama- 
mama.”  The  people  look  frightened.  Some  jump  into  the  water,  others 
faint,  and  all  pretend  not  to  know  what  they  are  doing.  Only  the 
canoe  in  which  the  lolo'LalaL  are  assembled  goes  on  undisturbed. 
They  go  ashore  and  take  the  novice,  who  had  disappeared,  from  among 
the  ghosts.  They  bring  him  down  to  their  canoe  and  paddle  slowly 
back  toward  the  village.  During  this  time  all  the  other  canoes  are 
drifting  with  the  tide,  as  the  people  have  not  recovered  from  their 
fright.  As  soon  as  the  lolo'LalaL  land,  the  ha/mats’as,  who  are  expect- 
ing them,  begin  to  get  excited  and  run  down  to  the  beach.  Then  the 
master  of  ceremonies  orders  a man,  whose  name  is  LaliLqotsastala,  to 
bring  the  other  canoes  back.  He  takes  a small  canoe,  paddles  out 
toward  the  canoes,  and  brings  them  back  one  by  one.  As  soon  as  they 
land,  the  lolo'LalaL  go  down  and  carry  the  people  up  to  the  house  as 
though  they  were  dead.  Then  the  lolo'LalaL  shamans  try  to  restore 
them  to  life,  while  at  the  same  time  the  ha/mats’as  are  running  from 
house  to  house  excited,  driving  the  people  out  as  soon  as  they  have 


THE  KWAKIUTL  INDIANS. 


609 


been  restored  by  tlie  efforts  of  tlie  shamans.  This  continues  until  the 
nuVmaq’a  rises  and  sings  his  song,  dancing  around  the  fire.  He  is  con- 
sidered more  powerful  than  the  ha/mats’a,  and  by  his  song  compels 
him  to  leave  the  house. 

Then  all  the  people  go  to  their  houses  and  have  their  breakfast.  In 
the  evening  the  ye'wix-ila  invites  the  tribe  to  his  house.  Then  they 
begin  to  sing  the  song  of  the  ghosts,  as  follows:  u Lo  ho  ho  u,  lo  ho 
ho  u,  lo  ho  ho  a hu  omama.”  This  song  is  repeated  four  times.  As 
soon  as  they  stop,  the  master  of  ceremonies  addresses  the  people,  saying 
that  they  will  try  to  restore  the  youth  who  had  been  taken  away  by 
the  ghosts.  While  he  is  talking,  somebody  is  heard  to  cry  u hamama- 
mama”  outside  the  house.  They  look  about  as  though  they  were  fright- 
ened,'and  ask  each  other  what  may  be  the  cause  of  the  noise.  The 
sound  is  heard  four  times $ then  an  old  man  jumps  into  the  door  aud 
informs  the  people  that  the  lolo/LalaL  are  approaching,  and  requests 
the  people  to  have  their  batons  ready  to  beat  time.  As  soon  as  he  has 
finished  speaking,  the  door  opens  and  the  lolo'LalaL  enter  crying 
“hamamamama.”  The  people  repeat  the  cry  and  begin  to  beat  time. 
The  ghost  dancers  enter  and  dance  in  a stooping  position.  They  wear 
rings  of  cedar  bark  on  their  heads,  from  which  a veil  of  split  white 
bark  is  hanging  down  over  their  faces.  They  go  around  the  fire  until 
they  come  to  the  left-hand  corner  of  the  house.  Here  they  sit  down  in 
a circle  crying  again  “hamamamama.”  When  they  become  silent,  the 
master  of  ceremonies  asks  La/liLqotsastala  to  see  if  the  ghosts  have 
come  with  the  dancers.  As  soon  as  he  approaches  them,  they  begin  to 
cry  again  uhamamamama,”  but  he  does  not  stop.  He  steps  up  to  them, 
sits  down  among  them  and  looks  for  the  ghosts.  After  a short  while, 
he  returns  to  the  master  of  ceremonies  and  says  that  he  has  seen  some 
of  his  dead  relatives  in  a hole  in  the  ground,  and  that  the  lolo'LalaL 
were  sitting  around  the  hole  and  talking  to  the  ghosts.  He  asks  the 
master  of  ceremonies  for  a strong  rope.  The  latter  calls  a man  whose 
name  is  Tsaksta/laqoals  to  get  the  rope  which  his  grandfather  left 
him.  This  means  that  this  office  is  hereditary.  Tsaksta/laqoals  goes 
and  brings  the  rope  into  the  house.  He  also  brings  twenty  blankets, 
which  are  called  the  weight  of  the  rope  of  the  ghosts.  The  master  of 
ceremonies  gives  one  end  of  the  rope  to  one  of  the  lolo'nalaL.  The 
latter  pretends  to  tie  the  end  of  the  rope  around  the  waist  of  the  new 
lolo'LalaL  in  order  to  prevent  his  being  taken  away  by  the  ghosts. 

As  soon  as  this  is  done,  the  tribe  divide  into  two  groups,  the  clan 
of  the  ye'wix-ila  and  their  rivals.  The  latter  sit  close  to  the  door. 
Then  the  master  of  ceremonies  gives  the  twenty  blankets  to  the  rivals. 
After  this  he  calls  up  all  the  ba/akwas — i.  e.,  those  who  belong  to 
the  clan  of  the  yeVixdla.  As  soon  as  they  take  hold  of  the  rope,  the 
yerwix-ila  distributes  blankets  among  his  rival  clan.  Then  he  calls 
upon  the  people  of  his  clan  to  touch  the  rope.  They  come  one  after  the 
other  and  distribute  blankets  among  the  other  clan.  Last  of  all  the 
NAT  mus  95 39 


610 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


cliief  comes,  who  gives  away  twenty  blankets.  The  blankets  which  are 
given  away  are  supposed  to  be  a weight  attached  to  the  rope,  and  the 
last  gift  of  twenty  blankets  breaks  the  rope. 

Then  one  of  the  members  of  the  rival  clan  jumps  up.  He  takes  hold 
of  the  broken  rope,  and  while  he  is  holding  it  calls  the  chief  of  his  own 
clan  to  fetch  the  rope  which  he  inherited  from  his  grandfather.  The 
chief  returns  with  the  rope  and  twenty  blankets.  He  ties  the  two  broken 
ends  together  with  his  rope  and  says  that  he  will  be  able  to  bring  the 
ghost  out  of  the  ground.  He  calls  his  clan  to  leave  the  door  and  to  come 
to  the  rear  of  the  house.  Now  the  ye'wixdla’s  clan  take  their  seat  near 
the  door.  The  other  clan  goes  through  the  same  ceremony,  and  last  of 
all  the  chief  brings  forty  blankets,  which  cause  the  rope  to  break.  This 
means  that  the  clan  whose  rope  did  not  break  until  forty  blankets  were 
attached  to  it  is  more  powerful  than  the  other  one.  After  the  rope 
breaks,  the  whole  tribe  sings  as  follows:1 

Look  up  to  our  world,  look  up  to  our  world!  Chief!  Procurer  of  wealth! 

This  song  is  repeated  four  times.  The  ye'wix-ila  distributes  more 
blankets  among  the  people,  who  then  go  home.  On  the  following  day 
the  lolo'LalaL  are  seen  to  walk  about  the  village  with  rough  rings  of 
cedar  bark  on  their  heads,  the  latter  being  strewn  with  down,  and  their 
faces  blackened.  About  midnight  of  this  day  a number  of  men  secretly 
climb  the  roofs  of  the  houses  of  the  village  and  begin  to  whirl  the  whirr- 
ing sticks”2  (fig.  189).  The  noise  of  these  sticks  is  supposed  to  be 
the  voice  of  HakaLilaqas  or  Wlna/lag-ilis,  who  comes  to  take  away 
another  novice.  This  noise  is  repeated  four  times,  each  time  for  about 
ten  minutes.  Then  the  people  must  sing  their  secret  songs  in  the 
houses.  When  the  noise  stops,  a ha/mats’a  is  heard  to  shout  in  the 
bush,  and  on  the  next  morning  a blanket  is  found  in  front  of  one  of  the 
houses.  The  people  gather  around  it  and  try  to  discover  whose 
blanket  it  is.  After  they  have  ascertained  the  owner  of  the  blanket, 
they  say,  u It  was  certainly  he  whom  we  heard  in  the  woods,”  and  his 
father  adds  that  HakaLilaqas  probably  came  and  has  taken  his  son 
to  BaxbakualanuXsUwae.  The  people  request  him  to  clean  his  house 
and  prepare  for  the  return  of  the  novice.  The  man  goes  into  his  house 
at  once,  cleans  it,  and  as  soon  as  he  is  ready,  the  people  enter.  He  asks 
them  to  be  ready  for  the  return  of  the  ha/mats’a,  as  he  might  come  back 
unexpectedly.  The  master  of  ceremonies  asks  the  singing  master  to 
sing  the  new  songs  for  the  ha/mats’a,  of  which  there  are  four.  After 
the  singing  master  has  sung  these  songs,  the  master  of  ceremonies 
requests  the  new  ye/wixdla  to  prepare  a feast.  The  people  take  their 
places  and  begin  to  sing  the  four  songs  of  the  old  lia/mats’a.  After 
these  are  sung,  the  feast  is  spread.  When  the  people  have  entered,  the 
old  ha/mats’a  comes  out  of  his  room  and  drives  them  out  of  the  house 

’Appendix,  page  728. 

2These  are  used  for  the  ha/mats’a,  ma/maq’a,  hai'alik-ala,  t’o'X’utt,  and  ka/wina- 
laL.  The  kelp  trumpets  are  used  for  the  loloTalaL  only. 


THE  KWAKIUTL  INDIANS. 


611 


and  into  the  water,  where  he  keeps  them  until  the  ma'maq’a  appeals 
and  drives  the  ha/mats’a  back  into  the  house. 

During  these  days  the  second  ye'wixfila  is  collecting  all  the  debts 
which  are  due  him,  and  on  the  following  morning  the  new  ha/mats’a 
is  seen  on  the  same  point  of  land  where  the  first  one  was  recovered. 
The  people  go  up  to  him,  catch  him,  and  bring  him  to  the  singing 
house  (kekoalela'tse).  Then  they  all  begin  to  sing  the  four  new  songs, 
the  first  two  accompanied  by  fast  beating,  the  last  two  by  slow  beat- 
ing. After  these  songs  the  ha/mats’a  is  led  back  into  his  bedroom. 
About  8 o’clock  in  the  evening  he  leaves  the  house, 
returns  to  the  woods,  and  stays  there  until  his  father 
has  invited  all  the  people  to  his  house  to  sing  for 
him.  As  soon  as  they  are  assembled  they  begin  to 
beat  time.  After  they  have  done  so  for  about  five 
minutes,  one  man  cries  u yau.”  The  people  repeat 
this  cry  four  times.  They  have  hardly  done  so  when 
the  ha'mats’a  enters  and  they  begin  to  sing.  The 
ha/mats’a  dances  around  the  fire  and  at  the  end  of 
the  last  song  disappears  in  his  bedroom.  This  night 
all  the  dances  are  shown  in  a festival  similar  to  the 
k-ik-i'lnala  of  the  Kwakiutl.1 

On  the  following  morning  the  ye'wix-ila  invites  all 
the  people  to  his  house,  and  gives  a feast  to  the  men, 
women,  and  children.  At  the  end  of  the  feast  every- 
body receives  a blanket  ato  wipe  the  mouth  with.” 

After  this  the  ha/mats’a  is  allowed  to  bite  four  times, 
once  every  fourth  day.  During  this  time  he  is 
purified  in  a way  similar  to  that  of  the  ha/mats’a  of 
the  Kwakiutl. 

After  the  last  night  of  the  winter  dance,  the  ye'- 
wixula  calls  all  the  people  to  his  house  and  asks  them 
who  is  willing  to  keep  the  red  cedar  bark  until  the 
next  year.  No  one  responds.  All  of  a sudden  the 
door  is  opened  and  about  twenty  men  rush  into  the 
house.  They  are  covered  with  balsam  pine  branches, 
and  blood  is  dripping  from  their  bodies.  They  are  called  the  Wlna/- 
lagulis  or  qumqu'mx-de  (land  otters).  They  run  around  the  fire  and 
suddenly  take  the  cedar  bark  rings  from  the  heads  of  several  men. 
They  then  leave  the  house  again  as  suddenly  as  they  entered.  The 
men  whose  cedar  bark  rings  they  have  taken  will  give  a winter  dance 
the  following  year.  After  this,  the  rest  of  the  people  take  off  their 
cedar  bark  ornaments,  tie  handkerchiefs  around  their  heads,  and  begin 
to  sing  summer  songs. 

The  following  is  a description  of  the  ceremonies  corresponding  to 
the  kue'xalak11  of  the  Kwakiutl,  called  by  the  LaAasiqoala,  Le'xalak11. 


Fig.  189. 

KOSKIMO  WHIRRING 
STICK. 

Length,  23|  inches. 

IV  A,  No.  1488,  Royal  Ethno- 
graphical Museum,  Berlin. 
Collected  by  A.  Jacobsen. 


1 See  page  595. 


612 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


During  a feast  the  young  man  who  is  to  be  initiated  suddenly  faints. 
At  once  a number  of  newly  initiated  shamans  are  called  to  investigate 
the  cause  of  his  sickness.  They  are  unable  to  ascertain  what  ails  the 
young  man,  and  send  for  the  older  shamans.  They  feel  all  over  the  body 
of  the  youth,  and  finally  declare  that  the  spirit  Wlna/lagdlis  has  taken 
possession  of  him.  Then  a sail  is  stretched  across  the  rear  of  the  house 
and  the  patient  is  placed  behind  it.  The  house  is  cleaned,  and  every- 
body is  invited — men,  women,  and  children.  Henceforth  this  house 
will  be  the  dancing  house.  The  q’a/qanas,  who  correspond  to  the 
me'emqoat  of  the  Kwakiutl,  must  stay  in  this  house  after  they  have 
once  entered  it  until  the  end  of  the  whole  ceremonial.  The  profane 
are  not  allowed  to  pass  the  front  of  the  house  above  high-water  mark. 

The  master  of  ceremonies  asks  the  people  to  sing  the  following  song, 
which  is  supposed  to  have  the  power  of  restoring  the  patient  to  life : 

Ilayas  ahono  lala  ya  liono  hana  liau. 

Do  not  cry,  you  will  come  back  safely.1 

An  old  shaman  stands  by  the  patient,  feeling  his  body.  The  song  has 
no  effect  upon  the  young  man,  and  the  master  of  ceremonies  requests 
the  people  to  try  another  means  of  restoring  him  to  life.  Boxes  are 
placed  in  front  of  all  the  assembled  people,  and  at  a signal  they  beat 
time  rapidly  with  their  batons,  ending  with  a loud  rap.  This  is  repeated 
four  times. 

The  above  song  belongs  to  the  clan  Naa'nqaenox  (always  staying  at 
home),  while  the  beating  of  time  belongs  to  the  clan  La'lauiLEla,  who 
obtained  it  from  the  AwTk-’enox.  The  shaman  says  that  the  beating 
of  time  had  the  desired  effect  upon  the  patient.  After  this  the  people 
assume  their  winter  names  and  rearrange  themselves  in  groups  as 
enumerated  on  page  419. 

On  the  same  night  the  festival  called  qap’e'k11  is  celebrated.  In  the 
morning  of  this  day  a number  of  young  men  were  sent  out  to  collect 
alder  bark  and  to  make  red  cedar  bark,  which  is  distributed  among  the 
people  in  the  evening.  In  payment  for  their  services  they  receive  a 
special  allotment  of  fi>od.  When  the  people  assemble  for  the  qapWk", 
the  highest  ha'mats’a  is  first  led  to  his  seat.  The  other  ha/mats?as  are 
placed  at  his  side.  They  are  followed  by  the  tsWkois  and  by  the 
hahalik-alaL.  The  que'qutsa  take  their  seats  last.  They  sit  on  each 
side  near  the  door.  As  many  que'qutsa  as  there  are  lia/mats’as  are 
charged  with  the  making  of  the  head  rings  of  the  latter.  These  que'- 
qutsa  all  stand  on  the  right-hand  side  of  the  door,  each  holding  his 
ring.  They  have  a leader,  whose  office  is  hereditary.  They  walk  around 
the  fire  four  times,  singing.  Then  they  step  in  front  of  the  ha/mats’as, 
and  on  a signal  they  all  put  the  neck  rings  around  them.  At  a sec- 
ond signal  they  put  the  head  rings  on  the  heads  of  the  ha/mats’as, 
and  finally  they  strew  their  heads  with  down.  Then  the  lia/mats’a’s 
whistle  is  heard,  and  the  people  distribute  quickly  the  red  cedar  bark 


Appendix,  page  728, 


THE  KWAKXUTL  INDIANS. 


613 


among  the  others.  The  que'qutsa  blacken  their  faces.  The  ha/mats7a 
begins  to  get  excited  and  bites  the  people.  He  must  bite  a certain 
i^an  first,  whose  duty  it  is  to  offer  himself  to  the  lia/mats7a  when  he 
gets  excited  for  the  first  time.  This  office  or  duty  is  hereditary.  The 
ha/mats’a  carries  a stick  and  drives  the  people  around  the  fire.  During 
the  ensuing  excitement  another  novice  disappears,  leaving  his  blood- 
covered  blanket  behind.  It  is  found,  and  under  great  excitement 
inquiries  are  made  as  to  who  is  missing,  until  finally  the  father  exclaims 
that  his  child  has  disappeared.  Then  the  ha'msliamtsEs  dances. 

Sometimes  the  disappearance  of  the  novice  takes  place  in  a different 
way.  Four  men  go  on  the  roof  of  the  house  during  the  night  and, 
running  about,  cry  “ lun  hm  hm.”  This  noise  is  taken  by  the  people  to 
signify  the  approach  of  Wlna/lagdlis.  On  the  following  morning  it  is 
found  that  one  of  the  young  men  has  disappeared,  leaving  his  blanket 
behind,  which  is  covered  with  blood. 

Still  another  way  of  beginning  the  Le'xalak11  is  the  following:  The 
ma/maq’a  dances  in  his  house,  and  suddenly  throws  his  magic  stick, 
which  is  believed  to  fly  through  the  walls  of  the  house  and  to  hit  the 
person  who  is  to  be  initiated  and  who  lives  in  another  house.  The 
youth  falls  down,  and  then  the  parents  call  the  shaman  to  cure  him. 
The  ceremony  continues  as  described  above. 

To  return  to  the  festival.  After  the  ha'mshamtsEs  has  finished  his 
dance  and  lias  bitten  a person,  the  people  begin  eating.  They  do  not 
feed  the  ha/mats’a  first,  as  is  done  by  the  Kwakiutl.  Then  they  sing 
four  times  the  song  of  the  Naa'nqaenox  j1  three  times  they  sing  the 
burden  only,  the  fourth  time  they  sing  the  words: 

Do  not  cry,  you  will  come  back  safely. 

This  is  the  end  of  the  ceremonies  of  the  first  night.  On  the  second 
and  third  night  the  same  songs  are  repeated.  Every  night  the  shaman 
visits  the  novice,  who  is  hidden  behind  the  curtain.  He  reports  that 
he  is  feeling  better,  and  the  third  night  he  says  that  he  is  shaking 
violently. 

The  fourth  night  the  same  songs  are  repeated.  The  shaman  visits 
the  novice  again,  and  when  he  returns,  he  says,  “Listen;  he  is  singing 
his  secret  song.77  Now  nobody  is  allowed  to  speak  or  to  cough.  Then 
they  hear,  as  though  from  a great  distance,  the  sound  of  a new  song, 
which  is  growing  louder  and  louder.  The  secret  song  is  sung  four 
times.  The  singing  master  must  listen  attentively,  because  after  the 
fourth  time  he  must  repeat  it.  Two  new  songs  are  heard  that  night. 
On  the  following  night  the  same  ceremony  is  repeated,  and  two  more 
songs  are  learned  by  the  people.  Twelve  que/qutsa  women  dance  this 
night.  Their  faces  are  blackened  and  they  wear  red  cedar  bark. 
GDheir  dance  is  accompanied  by  the  beating  of  batons.  One  man  and 
one  woman  are  stationed  at  the  entrance  to  the  secret  room  in  which 
the  novice  is  lying,  in  order  to  watch  it.  Their  offices  are  hereditary. 


See  page  612. 


614 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


When  the  twelve  women  are  about  to  finish  their  dance,  the  novice 
is  seen  to  come  out  of  his  secret  room.  He  does  not  wear  any  orna- 
ments of  red  cedar  bark.  . 

He  dances  on  the  four  following  nights.  On  the  following  day  there 
is  an  intermission  of  the  ceremonies.  The  next  day  the  ye'wixdla 
invites  all  the  people  to  his  house  and  asks  them  to  prepare  for  the 
purification  of  the  novice,  which  will  take  place  on  the  fourth  day. 
He  also  requests  three  officers  whose  offices  are  hereditary  to  pre- 
pare themselves  for  this  ceremony.  These  officers  are  the  man  who 
makes  the  tongs,  his  name  is  Q’aqia/s ; the  one  who  uses  the  tongs, 
his  name  is  NE'msqEmg'ala;  and  the  one  who  calls  the  people  to  the 
washing.  Early  in  the  morning  of  the  fourth  day  the  last-named 
officer  must  go  to  every  house,  and,  beating  the  doors  with  his  baton, 
he  must  cry,  “Yau,  yau,  listen,  listen.  There  is  food  for  you  from 
(Qoa/yukol ax-ili s),  from  (la'xus’EmL).”1  The  first  is  the  q’a'-q’anas 
name,  the  second  the  que/qutsa  name,  of  the  novice.  In  the  evening 
all  the  people  assemble  in  the  dancing  house.  Then  the  first  of  these 
men  makes  a pair  of  tongs,  which  are  wound  with  red  and  white  cedar 
bark  and  put  up  on  the  west  side  of  the  house.  A ladder  which  has 
only  four  steps  is  placed  against  one  of  tbe  rafters  on  the  left-hand 
side  of  the  fire  (that  is,  to  the  left  when  facing  the  rear  of  the  house). 
The  man  who  made  the  ladder  climbs  it,  and  puts  his  head  through  the 
roof.  When  he  comes  down,  the  people  beat  the  boards  and  the  drum. 
At  midnight  he  ascends  the  ladder  again.  He  goes  up  a third  time 
between  midnight  and  dawn,  and  the  fourth  time  when  the  day  begins 
to  dawn.  This  is  to  secure  good  weather.  Every  time  when  he  comes 
back,  he  sings : 

Ha,  lia ! you  do  not  give  me  a favorable  answer,  you  who  are  to  bring  the  southeast 
wind  by  washing  our  novice.2 

The  officer  who  made  the  ladder  is  given  a dish  in  payment  for  his 
work.  The  one  who  made  the  tongs  receives  a knife  and  a hammer. 
The  one  who  carries  the  tongs  receives  a belt;  another  belt  is  given  to 
the  officer  who  invited  the  people.  Sometimes  paddles,  canoes,  or 
blankets  are  given  to  them,  but  these  are  always  called  dish,  knife,  or 
belt,  as  the  case  may  be. 

After  the  man  has  come  down  the  ladder  the  fourth  time,  NE'msqEm- 
g*ala  takes  the  tongs  down  and  goes  around  the  fire  four  times,  hold- 
ing the  tongs  stretched  forward.  He  calls  a man  to  open  the  door,  and 
strikes  the  stick  which  is  spreading  the  tongs  four  times.  The  fourth 
timehehits  it  so  that  itfliesout  oftlie  door.  Thenhetakes  twostonesout 
of  the  fire,  one  after  the  other,  repeating  the  motion  three  times  in  each 
case  before  actually  taking  them  up.  He  throws  them  into  the  water  in 
the  same  way,  and  dips  them  up  also  after  having  repeated  the  motion 

1 Yau,  yau,  yauxtaxoLai7  yauxtaxoLai7,  bamayiLaai  qa  (Qofi/yukolax-ilisai7)  le 
(laxus’EmLai7). 

2 Appendix,  page  729. 


THE  KWAKIUTL  INDIANS. 


615 


three  times,  really  dipping  up  the  water  the  fourth  time.  The  novice 
sits  right  next  to  the  bucket  in  which  the  water  is  kept.  He  has  no 
rings  of  red  cedar  bark.  Then  he  is  washed. 

Then  NEhnsqEmg-ala  places  the  tongs  vertically  into  the  fire,  the 
open  end  downward.  The  cedar  bark  with  which  they  are  wound 
catches  fire,  and  then  he  lets  them  go.  It  is  expected  that  the  wind 
will  blow  in  whichever  direction  they  fall.  Then  the  officer  who  made 
the  tongs  makes  head  rings  of  red  cedar  bark  for  all  the  people,  who 
put  them  on.  The  singing  master  makes  a new  song,  and  singing  it 
they  go  around  the  fire,  and  leave  the  house,  led  by  the  yiahatalaL,  who 
carries  a small  rattle.  This  office  is  also  hereditary.  They  go  through 
the  whole  village,  and  inform  the  people  that  the  purification  of  the 
novice  has  been  performed  that  morning.  The  people  put  their  masks 
in  order,  and  gather  the  property  which  they  are  going  to*  give  away  at 
the  festival  which  is  to  be  held  that  evening.  This. night  the  people 
are  not  arranged  according  to  the  groups  described  above,  but  accord* 
ing  to  their  clans.  In  the  morning  a man  is  sent  around  to  call  the 
people.  He  says,  “Let  us  go  into  the  house  and  beat  the  boards,  for 
we  have  purified  him.  Let  us  go  at  once.”1 

First  the  boys  enter  the  house  and  begin  to  beat  time.  Then  the 
various  groups  enter  one  after  the  other,  each  carrying  the  property 
which  they  are  going  to  give  away  during  the  festival.  Whenever  a 
group  enters,  the  boys  beat  time.  They  imitate  the  movements  of  the 
animals  which  they  represent.  Then  each  group  gives  presents  to 
the  others,  and  at  this  time  the  ha'mats’a,  ma/maq’a,  and  the  other 
q’a/q’anas,  pay  for  the  damage  they  have  done.  Next,’  three  men 
are  called  up, — ME'lxmEk11,  a Naqo'mg-ilisala;  Ts’ETe,  a Gr-e'xsEm;  and 
Tsau'xstalag-ilis,  a G-i'g-ilqam, — who  each  sing  a song,  accompanied  by 
the  people.  ME'lxmEk^s  song  is  as  follows:2 

I will  listen  to  the  old  tale  to  which  this  refers. 

I will  listen  to  what  is  told  about  it. 

After  they  have  finished  their  songs,  a man  named  Wiyo'tsEm  is 
called  up.  He  puts  on  a canoe  sail  like  a blanket,  and  goes  around 
the  fire  dragging  the  sail  behind  him.  This  means  that  he  is  sweep- 
ing the  house  for  the  dancers,  who  will  enter  next.  The  first  dancer  to 
enter  is  the  wa/tanEm.  He  is  followed  by  the  ghost  dancer,  the  o'lala, 
hai'alik-aue,  tsVkois,  wi'x'sa  ha/mats’a  (=hamtsEtsoe),  and  ha'mats’a. 

While  the  ha/mats?a  is  biting  the  people,  the  ma/maq'a  enters  and 
drives  the  ha/mats?a  away.  Then  the  new  dancer  comes  out  of  his 
secret  room.  If  he  has  a mask,  he  returns  to  his  secret  room  and  dances 
again.  Four  women  dance  with  him,  two  in  each  corner  in  the  rear  of 

JLa  mEns  lag'aaLtsaLai',  gdns  kuexaleLg’ai',  xgbns  kuesasoxtEg^ai'.  Halag'i- 
We  will  go  in,  we  will  beat  boards,  for  we  bay©  washed  bim.  We  will 

liLEnsai7 ! na/xua  Laa'mLEnsai' ! 
go  at  once  all  we  will  go ! 

2 Appendix,  page  729. 


616 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


the  house,  while  the  novice  is  dancing  in  the  middle  of  the  rear  of  the 
house.  The  dance  is  accompanied  by  two  new  songs  and  by  the  two 
songs  that  were  used  at  the  ceremonial  of  purification.  While  he  is 
dancing,  the  ye'wix-ila  distributes  his  presents  among  the  people.  On 
the  following  day  another  man  gives  a feast  in  the  house  of  the 
ye'wix-ila.  When  all  the  people  have  entered  the  house,  the  novice 
is  called  to  come  out  of  his  secret  room.  The  people  sing  one  song, 
and  he  dances  alone  and  sits  down.  Again  his  father  distributes  pres- 
ents among  the  other  clans.  The  novice  is  allowed  to  take  part  in  the 
feast.  During  the  four  following  days  the  novice  wears  head  rings 
of  red  cedar  bark.  After  four  days,  another  man  gives  a feast  in  the 
same  house.  When  all  have  entered,  the  novice  is  called  out  of  his 
secret  room.  He  wears  a smaller  head  ring  now.  Two  more  feasts  are 
given  in  the  same  way  at  intervals  of  four  days.  Every  time  the  dancer 
wears  a smaller  head  ring. 

At  the  end  of  the  last  night  the  q’a/q’anas,  who  have  stayed  in  the 
dancing  house  right  through  the  whole  ceremonial,  are  led  home  by 
their  wives. 

It  will  be  noticed  that  in  these  ceremonials  the  festival  corresponding 
to  the  k-ikddnala  of  the  Kwakiutl  is  celebrated  after  the  return  of  the 
novice.  Among  the  La'Lasiqoala  when  the  novice  has  disappeared  in 
the  woods  (being  a la/xsa),  his  whistles  are  suddenly  heard  on  the  roof 
of  the  house  or  behind  the  houses.  At  night,  while  the  people  are 
assembled,  he  is  heard  on  the  roof  of  the  house,  but  disappears  again. 
On  the  following  morning  he  is  seen  on  a point  of  land.  Four  canoes 
are  lashed  together  and  connected  by  planks.  Thus  the  people  paddle 
up  to  him  and  bring  him  back.  The  same  night  all  the  dances  are 
performed. 

The  winter  dance  ceremonies  of  the  TsVwatEenox  differ  from  those 
described  heretofore.  I have  received  from  Mr.  Hunt  detailed  informa- 
tion only  in  regard  to  the  closing  ceremonies,  while  the  progress  of  the 
ceremonial  seems  to  be  much  like  that  of  the  Kwakiutl.  The  beginning 
is  as  follows: 

The  ye'wix-ila  invites  all  the  people  to  his  house,  where  they  sit  down 
according  to  their  clans.  Thenvhe  asks  his  wife  to  bring  food.  While 
the  food  is  being  prepared,  the  people  sing.  In  the  middle  of  the  third 
song  the  whistles  are  heard  on  the  roof  of  the  house.  The  people 
stop  singing.  They  group  themselves  at  once  according  to  their 
dances  and  societies.  They  burn  the  salmon,  because  it  was  prepared 
before  the  beginning  of  the  winter  dance.  That  night  they  begin  their 
ceremonies. 

On  March  14,  1895,  they  concluded  their  ceremonies  as  follows: 

Pa'xalats’e,  chief  of  the  T’Ena'xtax,  gave  away  blankets  during  the 
winter  ceremonial.  At  night  two  men  went  into  every  house,  and  said 
at  the  door:  “Now  we  will  tame  your  dancer,  TsVmqoagaLe.  Now 


THE  KWAKIUTL  INDIANS. 


617 


we  will  tame  your  dancer,  Na'nts’e.  Now  we  will  see  the  dance  of 
Laqoasalag’ilis.  Now  we  will  see  the  dance  of  YakamansaTag-ilis.” 

Then  the  otner  one  said,  “ Be  quick  now,  dancers ! W e will  assemble, 
friends,  while  it  is  day,”  and  they  went  back  to  the  dancing*  house. 

After  some  time  the  two  men  Avent  again  to  every  house,  and  the  first 
one  said:  “We  come  back  to  call  you.”  The  second  one  said:  “Now 
let  us  go  to  the  house,  dancers.  It  is  late  in  the  evening.  We  have 
no  fuel,  friends.  Let  us  all  go  together.”  Thus  they  said  at  every 
house,  and  went  back  to  the  dancing  house. 

Then  the  two  men  went  again  and  looked  about  in  the  house  and 
said:  “Now  all  our  friends  are  in;”  and  Avhen  they  discovered  that 
some  one  was  missing  they  went  to  him  and  said:  “You  are  the  only 
one  who  is  still  missing.” 

When  they  were  all  in,  Pa'xalats’e  arose  and  spoke:  “I  thank  you, 
my  great  friends,  that  you  have  come  to  our  dancing  house.  Kemain 
here  in  the  dancing  house  of  j^a'intalaL,  the  great  shaman,  who  van- 
quished our  Master,  Q’aniqilak",  at  Ts’a/wate.  This  is  the  winter  dancing 
house  of  Nau'alagumqa,  the  great  shaman  at  Ts’a/wate.  This  is  the 
winter  dancing  house  of  Ba/Lalag-ilak11,  who  gained  victory  over 
We'qae  of  the  Le/kwiltoq  (see  p.  416).  Those  whom  I named  had 
large  cedar  bark  ornaments.  Thus  we  say,  La'mgal;  thus  we  say, 
Nu/xnemis.  Therefore  I gain  the  victory  over  the  chiefs  of  all  the 
tribes,  for  in  the  beginning  they  were  vanquished  by  j^a'mtalaL  and 
Nau'alagumqa  and  BaLa/lag-ilaku.  Now  take  care,  my  friends!”  He 
turned  to  his  tribe  and  said  to  them,  “I  say  so,  Ta/mXuak-as;  I say 
so,  Xu'gamsila;  I say  so,  PVlxalasqam;  I say  so,  Le'na;  I say  so,  my 
friends.  Now  take  care,  my  great  friends;  give  me  my  rattle  that  I 
may  call  the  spirit  of  the  ceremonial.  Therefore  I tell  you  to  be  care- 
ful, friends.”  They  gave  him  the  rattle;  he  shook  it  and  sang  “hoip, 
op,  op,  op.”  He  stopped  and  looked  upward  as  though  he  was  expect- 
ing the  spirit.  The  chiefs  said:  “Take  care,  friend,  else  you  might  not 
get  the  spirit  of  the  Avinter  ceremonial.”  Again  he  shook  his  rattle 
and  sang  the  secret  song  of  Ts’awata/lalis : 

1.  Now. listen!  ya,  ya,  ya,  greatest  of  all  dancers!  Hawo. 

2.  Now  sing ! ya;  ya,  greatest  of  all  dancers ! Hawo. 

3.  Noav  sing  your  song,  ya,  ya,  ya,  greatest  of  all  dancers ! Hawo. 

4.  Now  lie  comes  to  me,  ya,  ya,  ya,  greatest  of  all  dancers!  Hawo. 

Then  he  ended  his  song;  and  the  cries  of  many  ha/mats’as  were 
heard  among  the  trees.  They  cried  “wip,  wip,  wip,  wip,”  like  the 
Im/mshamtsEs. 

As  soon  as  the  cries  ceased,  Ta/mXuak-as  spoke : “ Friends  on  the 
other  side  of  the  house,  did  you  hear  what  we  obtained  from  our  grand- 
fathers'? You  heard  that  it  belongs  to  the  earliest  legends  of  the 
world.  Now  take  care,  friends,  Ave  do  not  need  to  be  frightened  of 
anything,  because,  as  you  heard,  my  great  cedar  bark  ring  came  to  me 
from  my  grandfather.”  Then  Pa'xalats’e  shook  his  rattle  again  and 


618  REPORT  OF  NATIONAL  MUSEUM,  1895. 

sang  the  same  song  as  before.  When  he  stopped  singing,  the  cry  of 
the  ha'mshamtsEs  was  heard  again  near  the  house. 

Now  Pa'xalats’e  shook  his  rattle  again  and  sang  his  secret  song. 
When  he  stopped,  the  cry  “wip,  wip,  wip77  was  heard  just  behind  the 
dancing  house.  He  sang  his  secret  song  a fourth  time.  Then  the  cry 
“wip,  wip,  wip77  was  heard  at  the  door  of  the  house.  The  first  of  the 
dancers  entered  and  sang  his  secret  song.  They  were  all  dressed  in 
hemlock  branches,  which  were  wound  around  their  heads  and  necks. 
This  is  the  secret  song  of  their  leader : 

1.  Now  listen,  ana'  ana'  to  my  shaman’s  song.  Ana',  ana'  hamamama,  hamamama/. 

2.  Now  listen  to  the  cry  of  the  ha'mat’sa,  because  I am  a cannibal,  because  I am  a 

shaman,  ana,  ana,  hamamama,  hamamama,  hamamama. 

Then  the  leader,  Ts’e'koa  by  name,  stopped  singing.  When  he  came 
near  the  fire,  to  the  middle  of  the  house,  he  turned,  and  at  the  same 
time  said  “ hokp,  hokp,  hokp.77  Thus  forty  men  came  into  the  house, 
while  the  old  men  who  were  sitting  in  the  rear  of  the  house  began  to 
beat  time.  They  went  around  the  fire  in  a squatting  position.  Next, 
a woman  came.  Her  name  was  Ya/kusElag-ilis.  She  had  hemlock 
branches  around  her  neck.  She  sang  the  secret  song  of  Nau'alagumqa : 

1.  Hama!  I was  made  a magician  by  the  greatest  of  the  dancers. 

2.  Hama!  I was  filled  with  magic  by  the  greatest  of  the  dancers. 

When  she  stopped  singing,  she  turned  and  all  cried  “wip,  wip,  wip, 
wip.77  Forty  women  were  standing  in  the  house.  The  old  men  began 
to  sing  the  song  of  ^ahntalaL,  which  he  sang  in  his  contest  with 
Qa/niqilak"  at  Ts7a/wate,  according  to  the  tradition,  when  he  gained 
the  victory  over  Qa/niqilak u,  at  the  time  when  they  tried  each  other. 
This  is  the  song  which  he  made  against  Qa/niqilaku: 

1.  A small  magician  was  he  as  compared  to  me. 

2.  The  small  magician  was  afraid  of  me. 

3.  I called  his  name,  the  name  of  the  small  magician. 

4.  And  he  tried  to  tame  this  greatest  of  all  dancers. 

When  she  stopped  singing,  Ts’e'koa  repeated  his  secret  song.  After 
this  song  all  the  men  and  women  turned  to  the  left  and  cried  “ wip, 
wip,  wip.77  Then  the  old  men  repeated  rja'mtalaL’s  song.  When  they 
stopped,  Ts7e'koa  repeated  the  song  of  Ba/Lalag-ilak,  the  same  which 
he  had  sung  when  entering  the  house.  When  he  had  finished  his 
song,  all  the  men  and  women  turned  to  the  left  and  said  “hokp,  wip, 
wip,  wip.77  Once  more  the  old  men  sang  the  song  of  .^ahntalaL.  After 
their  song,  Ts’e'koa  repeated  Ba/Lalag‘ilak"7s  song.  All  the  men  turned 
to  the  left.  The  old  men  repeated  the  song  which  -Qa'mtalaL  sang  in 
his  contest  with  Qa/niqilak u. 

Then  all  the  men  and  women  who  had  danced  went  out  of  the  house, 
and  Ta'mXuak-as  spoke : “ Wa,  wa,  friends.  Hid  you  see  this  ¥ What 
you  have  seen,  friends,  on  the  other  side  of  the  house,  that  is  what 
we  are  afraid  of;  that  is  what  makes  life  short;  that  is  our  Lord;  that 


THE  KWAKIUTL  INDIANS. 


619 


is  wliat  we  inherited  from  onr  grandfathers ; that  is  our  history  ; that  is 
the  great  magician;  that  is  -^a'mtalaL,  the  great  magician;  the  woman 
isNau'alagumqa.  That  is  Ba/Lalag-ilaku;  thaf  is  ^a'mtalaL,  who  gained 
the  victory  over  Qa/niqilaku  at  Ts’a/wate,  and  that  is  the  cause  why  all 
the  tribes  are  vanquished  by  us,  wa,  wa.  That  is  what  I say,  friends, 
for  Pa/xalats’e.  The  songs  which  you  have  heard  are  those  of  xja'm- 
talaL.  That  is  his  dance.  The  secret  song  of  the  leader  is  the  secret 
song  of  Ba/Lalag-ilak11,  and  the  secret  song  of  the  woman  is  that  of 
Nau'alagumqa.  I do  not  use  new  ways.  The  other  tribes  may  invent 
new  things,  wa,  wa.  ” 

Now  the  boards  of  the  house  front  were  struck,  and  the  people  said: 
“The  cormorants  are  going  to  dive!”  Then  Xu'gamsila  entered  the 
house  and  said:  “Beat  the  boards,  friends.”  The  old  men  beat  the 
boards,  and  the  young  chiefs  entered.  As  soon  as  they  had  come  in, 
Xu'gamsila  spoke:  “These  are  the  cormorants  of  Ts’a'wate.  That  is 
the  only  place  where  they  eat  nothing  but  oulaclion.  Therefore  they  are 
fat.1  Now  beat  the  boards,  friends.”  The  old  men  beat  the  boards, 
and.the  women  came  in,  spreading  their  blankets.  They  had  red  cedar 
bark  ornaments  on  their  heads,  the  same  as  the  men.  Then  Xu'gamsila 
spoke:  “They  are  the  sawbill  ducks;  they  dive  for  property.”  Now 
Ta'mXuakms  spoke:  “Friends,  what  do  you  think?  Shall  we  discard 
the  use  of  the  red  cedar  bark  which  makes  us  happy?  We  shall  only 
be  downhearted  if  we  should  discard  it.  We  shall  be  asleep  all  the  time. 
Now,  friends,  we  will  finish  this  night.  We  will  have  the  last  dance  of 
this  season.  You,  Pa'xalats’e,  shall  change  our  names  this  night.  That 
is  what  I say,  P’alxalasqEm. 

Now  Ho'LElite  arose  and  spoke:  “This  is  your  speech,  Ta'mXuakms. 
You  said  we  would  finish  this  night.  Bid  you  hear  the  speech  of  our 
friend  La'mg'ala?  He  says  they  will  take  off  the  red  cedar  bark.  I 
will  not  take  it  off*.  That  is  what  I say,  Kule'ul ; that  is  what  I say, 
TsVlgaxsta.  I must  accept  the  words  of  all  our  friends.” 

Then  arose  Yu'x-yukwamas,  chief  of  the  Nimkish : “ These  are  your 
speeches,  friends.  You  wish  to  throw  away  the  red  cedar  bark.  Now 
answer  my  speech,  Ta'mXuakms.” 

Then  the  latter  answered:  “It  is  true.  I said  so  because  our  friends 
here  do  not  treat  in  the  right  way  the  cedar  bark  of  which  we  are  afraid, 
which  we  inherited  from  our  grandfathers.  It  is  our  master,  it  makes 
our  life  short.  It  is  true  I said  we  would  finish  to-night.” 

Then  Yu'x-yukwamas  spoke  again:  “Did  you  hear,  friends?  Did 
you  hear  it,  La/qoasqEm?  Let  them  finish  now.  You  finish  to-night. 
But  I am  waiting  for  the  repayment  of  the  marriage  money  to  my 
friends.  Therefore  I do  not  want  to  take  off  the  cedar  bark  to-night. 
You  may  change  your  names  to-night,  wa,  wa.  I say  this,  Nu'xnemis; 
I say  this,  Ho'LElite ; I say  this,  La'mg-ala ; wa.  It  is  a great  thing  that 

1 That  means  that  they  had  each  given  a grease  feast. 


620 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


we  are  talking  about,  my  tribe.”  Then  Nu'xnemis  arose  and  spoke: 
“That  is  your  speech,  Ta'mXuak’as;  we  are  all  afraid  of  your  speech, 
great  tribe!  It  is  better  that  you  finish  to-night.  Keep  on  in  the  old 
ways  of  our  grandfathers ! I thank  you,  great  tribe,  keep  on  in  this 
way,  my  children!  Do  not  abuse  what  we  inherited  from  our  grand- 
fathers. Your  words  are  true.  This  cedar  bark  will  make  life  short 
if  it  is  not  used  in  the  right  way.  Now  take  care,  friends ! I say  this, 
Kwakiutl,  Ma'maleleqala,  NimkislqTsVmas.”  Then  all  the  chiefs  said 
“ wa,  wa.” 

Now  TVmXuak-as  arose  again  and  spoke:  “Thank  you,  friends,  for 
your  words.  Now  I will  take  off  the  red  cedar  bark  to-night.  Come, 
friends,  and  you  women,  and  let  us  dance.  Let  the  tribes  listen  to  us 
and  watch  our  customs.”  Then  the  men  and  the  women  assembled  and 
sang  the  old  song.  Xu/gamsila  carried  a long  notched  pole  about  7 
feet  long.  This  is  his  song: 

1.  Now  dance!  take  off  by  means  of  yoor  dance  tbe  great  bead  ornament,  tbe  bead 

ornament  tliat  you  inherited  from  tbe  mask  of  tbe  winter  ceremonial  worn  by 
tbe  first  of  our  tribe.  Wo,  o,  6,  o,  o,  liuwaia,  liuwaia,  wo,  o,  o,  o,  5.  (Here 
all  tbe  people  lifted  their  cedar  bark  ornaments.) 

2.  O let  us  now  put  away  our  great  bead  ornaments.  Tbe  bead  ornament  that  you 

inherited  from  tbe  mask  of  tbe  winter  ceremonial  worn  by  tbe  first  of  our 
tribe.  Wo,  5,  o,  5,  o,  liuwaia,  hiiwaia,  wo,  o,  o,  o,  5.  (Here  the  people  lifted 
the  bead  ornaments  again.) 

3.  0 let  us  now  put  down  our  great  bead  ornaments,  the  bead  ornaments  that  you 

inherited  from  tbe  mask  of  tbe  winter  ceremonial  worn  by  tbe  first  of  our 
tribe.  Wo,  o,  o,  o,  huwaia,  hfiwaia,  wo,  o,  6,  6.  (Here  they  lifted  tbe  orna- 
ments again.) 

4.  O now  dance  and  take  off  this  our  great  bead  ornament,  tbe  bead  ornament  that 

you  inherited  from  the  mask  of  tbe  Avinter  ceremonial  worn  by  tbe  first  of 
our  tribe.  Wo,  o,  o,  6,  huwaia,  liuwaia,  wo,  o,  o,  o. 

With  this  they  lifted  the  ornaments  again  and  put  them  in  the  notch 
of  the  staff  which  Xu'gamsila  was  carrying.  The  song  is  the  same  as 
the  one  which  jqa'mtalaL  used  when  taking  off  his  cedar  bark  orna- 
ments. As  soon  as  they  had  finished  their  song,  they  changed  their 
names.  Now  he  whose  name  had  been  Xu'gamsila  was  called  Ha'mts’it. 
Then  NEg-ey,  whose  name  had  been  Pa'xalats’e,  spoke:  “My  tribe, 
now  let  some  one  rise  who  wants  to  take  these  red  cedar  bark  orna- 
ments for  next  winter.” 

Then  Ya/qoLas  arose  and  spoke:  “I  come,  NEg-e',  in  answer  to  your 
speech.  I will  take  this  red  cedar  bark.”  Then  ha  spread  his  blanket, 
the  cedar  bark  ornaments  were  thrown  into  it,  and  he  hid  them  in  his 
bedroom.  Then  all  the  members  of  the  T’Ena'xtax  tribe  tied  handker- 
chiefs around  their  heads.  They  had  finished  their  winter  dance. 
Walas  XEg'e7  distributed  blankets.  They  did  not  give  first  to  the 
ha/inats’a,  but  to  the  head  chief. 


THE  KWAKIUTL  INDIANS. 


621 


XII.  The  eao 'lax a. 

I pointed  out  at  a former  place  that  the  La'Lasiqoala  group  the  dances 
in  two  classes — the  ts’e'ts’aeqa  and  the  lio'nLEm.  The  no'nLEin 
dances  are  closely  connected  with  the  clans,  and  during  their  perform- 
ance the  ordinary  social  system  remains  in  full  force.  The  Kwakiutl 
have  only  a few  of  these  dances  which  they  call  Lao'laxa,  which  name 
is  also  sometimes  used  by  the  La'Lasiqoala.  It  is  difficult  to  establish 
any  fundamental  difference  between  a Lao'laxa  dance  and  a ts’e'ts’aeqa 
dance,  as  in  both  cases  a hereditary  genius  initiates  the  novice,  and 
as  in  both  ceremonials  membership  is  obtained  in  the  same  manner- 
through  marriage,  or  by  killing  a person  who  is  entitled  to  the  cere- 
monial. The  distinction  is  comparatively  clear  among  the  La'Lasiqoala 
and  the  affiliated  tribes.  Only  those  dances  which  derive  their  origin 
from  BaxbakualanuXsI'wae  and  his  following,  or  from  Wlna/lagdlis, 
are  ts’e'ts’aeqa;  all  others  are  no'iiLEm.  To  this  class  belong  all  the 
animals,  and  we  find  that  they  are  much  more  clearly  clan  deities  than 
the  former  class.  At  the  same  time  it  is  stated  distinctly  that  the  whole 
ceremonial  was  introduced  through  intermarriage  with  the  northern 
tribes,  particularly  the  He'iltsuq.  This  consciousness  of  an  entirely 
foreign  origin  of  all  the  Lao'laxa  dances  is  still  stronger  among  the 
Kwakiutl,  while  many  dances  which  undoubtedly  had  the  same  origin 
have  been  incorporated  by  them  in  the  ts’e'ts’aeqa. 

The  La'Lasiqoala  use  in  the  mVnLEin  ceremonial  cormorant  down 
in  place  of  eagle  down,  white  cedar  bark  in  place  of  red  cedar  bark, 
red  paint  in  place  of  black  paint.  They  sing  both  profane  songs 
and  ts’e'ts’aeqa  songs.  The  celebration  takes  place  in  November  and 
December. 

Among  the  Kwakiutl  the  Lao'laxa  may  be  celebrated  at  any  time  of 
the  year.  The  man  who  desires  to  give  the  festival  calls  his  clan  or 
tribe  to  his  house  and  informs  them  of  his  plans.  I am  obliged  to  Mr. 
George  Hunt  for  the  following  description  of  such  a meeting: 

Ots’estalis,  a man  whose  mother  was  a Ile'iltsuq,  was  about  to  give  a 
Lao'laxa.  He  invited  his  clan  and  spoke  as  follows : 

“Now  come,  my  tribe,  come  Ha'mts’it,  come  Ye'qawite,  come  G'e'so- 
yag-ilis,  come  La/qoagdla,  come  Tso'palis;  come  to  hear  the  words  of  our 
chief.  Come  Gue'tEla,  come  Q’o'moyue,  Walas  Kwakiutl,  Q’o'mk-utis. 
Thank  you,  my  tribe,  for  coming.  I must  tell  you  about  my  plans.  I 
will  show  the  dance  which  came  down  from  heaven,  the  Lao'laxa,  the 
coming  night.  Take  care,  my  tribe,  take  care  all  of  you,  you  second 
class  chiefs.  I do  not  mean  you,  Chief  Ha'mts’it.  I mean  Ma/Xua 
and  Wa/nuku  and  O'ts’estalis  and  Ma/mNua  and  La/lak-utsh  and  you 
third  class  young  chiefs.  Now  take  care,  the  supernatural  power  will 
come  to  dwell  among  the  tribes  that  are  assembled  at  our  camp,  great 
Kwakiutl ! Now  I will  tell  you  what  I carry  in  my  hands.  I will  give 
away  my  copper  Wa/numg-ila  to  the  Na/q’oaqtoq,  Koskimo,  G’o'ifienox, 


622 


REPORT  OF  NATIONAL  MUSEUM.  1895. 


and  L’a/sq’enox.  Its  price  is  800  blankets.  I think  that  will  be  enough 
for  these  eight  tribes  here,  and  my  other  copper  Ma/mukoalila  shall  fall 
on  the  Ma'maleleqala,  Qoe/xsot'enox,  and  Nimkish,  and  the  Lau'itsis 
and  Matilpe  and  T7Ena/xtax  and  A'wa-iLala  and  Ts?a/watEenox  and 
Ha/xuamis.  I think  that  is  enough!  Ma/mukoalila’s  price  is  6,000 
blankets.  This  will  be  enough  for  the  nine  tribes,  and  I will  sell  for 
food  my  copper  Mau'aga,  for  which  I paid  2,400  blankets  at  the  time 
when  Lalak-uts’a  wanted  to  sell  it  quickly  at  Me'mkuimlis.  Else  the 
tribe  might  say  that  they  are  starving  in  this  great  country.  But  this 
way  they  can  find  no  fault  when  they  come.”  Sometimes  one  or  the 
other  of  the  old  men  said  “yes,  yes,”  during  his  speech,  and  he  con- 
tinued: u Furthermore,  such  is  my  pride,  that  I will  kill  on  this  tire 

this  my  copper,  Dandalayu,  which  is  groaning  in  my  house.  You  all 
know  how  much  I paid  for  it.  I bought  it  for  4,000  blankets.  Now  I 
will  break  it  in  order  to  vanquish  our  rival.  I will  make  my  house  a 
fighting  place  for  you,  my  tribe,  wa.  Now  you  know  it  all,  my  tribe; 
be  happy,  chiefs ! for  this  is  the  first  time  that  so  great  an  invitation  has 
been  issued.  There  are  9,200  blankets,  besides  the  4,000  blankets  for 
the  copper  that  I am  going  to  break.  Now  count  all  that  the  invitation 
will  cost.  It  is  43,200  blankets,  and  besides  250  button  blankets,  270 
silver  bracelets,  and  7,000  brass  bracelets,  240  wash  basins,  and  I do 
not  count  the  spoons,  abalone  shells,  and  the  Lao'laxa  head  mask,  and 
the  numerous  kettles  which  I am  expecting  from  my  wife.  Now  you 
know  all  my  plans ! ” 

Then  Wa/k*as  arose  and  spoke:  uWa,my  tribe!  Bid  you  hear  what 
our  chief  counted  up!  Are  you  not  afraid  of  the  various  kinds  of 
property  which  he  is  expecting!  Now  long  life  to  you,  O'ts’estalis, 
you  who  were  made  a chief  by  your  fathers.  Take  care  of  our  chief, 
my  tribe.  Take  care,  Gue'tEla,  Q’o'moyue,  Walas  Kwakiutl,  and 
Q’o'mk-utis.  He  is  vomiting  everything  that  he  has  in  his  mind.  My 
tribe,  are  you  not  also  glad  of  our  chief ! I think  you  are  proud  in 
your  hearts.  Thank  you,  OTs’estalis.  Thank  you  from  my  heart,  chief. 
I wish  you  long  life.  You  will  be  the  first  of  all  the  chiefs  of  all 
tribes.  So  I say,  TsVpalis,  thus  1 say,  Ha/masaqa,  G*esoyag-ilIs, 
Ma'koayalisame,  Da/dantsfit,  La/lakanx*it,  wa,  wa.  So  we  say,  our 
whole  tribe.” 

Then  arose  Ma/mXua:  “That  is  your  speech,  Chief  O'ts’estalis ; that 
is  your  speech,  Wa/k-as.  Thank  you,  chief.  How  pretty  is  my  chief! 
Thank  you,  friend.  Now  my  heart  is  alive,  for  I was  afraid  when  I 
heard  the  news  of  our  rival.  Ho,  ho,  ho.  Now  I lift  the  heavy  weight 
of  your  speech,  chief.  Thank  you,  brother.  So  I say  for  my  whole 
tribe.”  Then  Ofinx-fit  arose  and  said:  “Thank  you  for  your  speech, 
O'ts’estalis.  Long  life  to  you  for  your  speech.  How  well  you  stand  on 
our  earth.  You  will  be  the  only  post  of  our  world.  The  chiefs  of  all 
the  tribes  will  be  jealous  of  you,  you  overhanging  mountain,  you  chief 
who  can  not  be  equaled.  You  do  not  need  to  fear  anything.  How 


THE  KWAKIUTL  INDIANS. 


623 


great  is  your  name,  chief.  Now  you  made  my  back  strong.  Take 
care,  my  tribe,  and  wish  long  life  to  our  chiefs.”  Everybody  applauded 
his  speech.  Then  O'mx'fit  sat  down. 

Next  Ha/mEsk-inis  arose  and  spoke.  He  said:  “My  tribe,  are  you 
not  ashamed  of  this  young  man?  He  will  be  your  chief,  Kwakiutl!  I 
am  half  ashamed  myself  on  account  of  the  amounts  counted.  Go  on, 
my  son,  be  proud  of  what  you  said.”  Then  he  lifted  his  right  hand 
and  shouted : “Hide  yourselves,  tribes!  never  was  seen  such  an  amount 
of  property  as  our  chief  has  called.  Ya,  ya,  my  tribe,  do  you  not  con 
sider  the  great  mountain  of  property  of  OTs’estalis  dreadful?  He  is 
still  a young  man.  Take  care,  my  children,  that  you  may  have  two 
men  who  will  give  away  blankets  to  the  whole  world.  That  is  what  I 
say  to  the  chiefs  of  the  Kwakiutl,  wa,  wa.” 


Fig. 190. 

RAVEN  BATTLE. 

Length,  13  inches ; blue,  black,  red. 

IV  A,  No.  427,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 

Now  it  was  growing  dark,  and  O'ts^estalis  arose  and  spoke:  “Look 
at  me,  my  tribe!  Pretty  is  this  young  man;  he  is  growing  up  well. 
Now  I will  sing  the  secret  song  and  try  to  call  the  spirit  of  my  dance.” 
The  people  said:  “Go  on.”  And  he  sung  his  secret  song,  calling 
down  the  spirit  of  the  Lao'laxa: 

1.  I am  the  greatest  magician,  0 hihihi,  i,  the  greatest  magician. 

2.  I alone  am  full  of  magic,  O hihihi,  i,  the  greatest  magic. 

3.  I am  the  only  one  who  makes  life  short  hy  means  of  his  magic,  the  greatest  magic. 

4.  I am  the  only  one  who  knows  to  call  down  the  magical  power,  the  greatest  magic. 
Come  now,  magical  power,  O hihihi,  i,  greatest  magic. 

As  soon  as  he  had  finished  his  song  the  noise  of  whistles  came  down 
to  the  roof  of  the  house.  Then  they  called  all  the  women  and  children. 
They  came  to  the  dancing  house  for  the  LaoTaxa.  O'ts’estalis  arose.  He 


624 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


was  glad  that  the  people  had  come  quickly,  and  said:  “ Yes,  my  tribe, 
you  have  done  right  that  you  have  come  to  this  large  house.  Make 
yourselves  comfortable.  Don’t  be  in  a hurry  to  go  home  to  your 
houses.  Thus  I say,  Wa/k-as.  Thus  I say,  Om'x-’it,  wa,  wa.”  Then 
the  songmakers  sang,  and  the  people  sat  around  them  learning  the 
songs  of  the  dancer.  When  all  knew  the  song,  O'ts’estalis  arose  and 
sang: 

Ya,  I am  the  first,  hei,  ya,  ha. 

Ya,  my  speech  is  the  highest,  hei,  ya,  ha. 

He  stopped  singingand  said:  “Ho,  ho,  ho!  Yes,  my  tribe.  Thus  I 
lift  the  heavy  weight  of  my  wealth.  Now  we  will  call  all  the  tribes 
that  they  may  come  in  the  morning.  Now  go  to  sleep.  That  is  all, 
friends.”  Then  all  the  people,  men,  women,  and  children,  left  the  house. 
The  following  morning  the  Kwakiutl  went  outiu  their  canoes  to  invite 
all  the  tribes. 


Fig. 191. 


RAVEN  RATTLE. 

Length,  13  inches;  blue,  black,  red. 

IV  A,  No.  1366,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 

As  this  festival  was  to  be  given  to  a number  of  tribes,  all  the  Kwa- 
kiutl took  part  in  this  meeting.  When  only  the  Kwakiutl  are  to  be 
present,  the  host  announces  his  intention  to  his  clan  alone.  Then,  after 
the  meeting  is  over,  he  sends  word  to  the  chiefs  of  all  the  clans,  advising 
them  that  the  Lao'laxa  whistles  will  be  heard  that  night.  Then  all 
those  who  have  celebrated  a Lao'laxa  before  may  go  to  ask  him  what 
masks  he  intends  to  show,  in  order  to  make  sure  that  he  will  not 
infringe  upon  their  rights.  In  the  evening  the  whistles  are  heard  to 
blow  behind  the  house  of  the  man  who  is  going  to  give  the  Laodaxa. 
After  about  ten  minutes  they  stop,  and  then  bloAv  again.  This  is 
repeated  four  times.  For  four  nights  the  whistles  are  heard  in  the 
woods  behind  the  house.  The  fourth  night,  after  they  have  been 
blown  in  the  woods  three  times,  they  are  heard  on  the  roof,  and  finally 
in  the  bedroom.  Then  the  man  begins  to  sing  his  secret  song. 


THE  KWAKIUTL  INDIANS. 


625 


After  finishing  his  songs  lie  steps  out  of  the  door  and  calls  all  the 
people,  the  Gue/tEla  first,  then  the  QVmoyue,  Walas  Kwakiutl,  and 
Q’o'mk-utis,  in  the  order  of  their  rank.  He  informs  them  that  the  spirit 
of  the  Lao'laxa  has  come  to  his  house,  and  requests  them  to  wash  and  to 


Kg.  192. 

LAO'LAXA  MASK  REPRESENTING  THE  DEER. 

a,  mask  closed ; b,  bone  of  tlie  foreleg  of  the  deer,  carried  in  the  hands  of  the  dancer ; c,  mask  opened, 
showing  figure  of  a human  face.  Length,  1G  inches.  Width,  13  inches. 

IV  A,  No.  891,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 

keep  clean.  At  the  same  time  he  invites  all  the  young  men  to  come  to 
his  house  and  sing.  Then  the  young  men  enter  the  house  and  sing,  aud 
some  of  them  dance,  one  after  another.  After  the  dance  a feast  is 
given  by  the  Lao'laxa  dancer,  who  distributes  about  one  hundred 
NAT  MUS  95 40 


626 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


blankets  among  these  young  men.  This  signifies  a promise  to  dis- 
tribute food  to  all  the  people. 

The  young  men  put  on  the  blankets  and  go  from  house  to  house 
saying:  “This  is  food  which  you  will  receive  to-morrow.  It  belongs 

to n They  'go  back  to  the  host’s  house  and  return  the 

blankets  to  him.  On  the  following  morning  all  the  young  men  assem- 
ble again.  They  are  given  red  paint  to  adorn  their  faces,  and  they 
are  sent  to  call  the  people  to  the  promised  feast.  Only  the  men  are 
invited.  After  two  calls  all  assemble  and  arrange  in  groups  according 
to  their  clans.  As  soon  as  all  have  assembled,  the  messengers  join 
-their  clans.  Before  the  feast  begins,  four  songs  are  sung,  as  is  cus- 
tomary, two  by  the  Grue'tEla  and  two  by  the  Q’o'moyue.  Then  the 
host  fills  a ladle  with  grease  and  sends  it  to  Hawaxalag-ilis,  who  is 
the  highest  in  rank,  and  to  the  others  in  order.  During  all  this  time 
the  Lao'laxa  whistles  are  heard  to  blow  in  the 
bedroom.  When  the  grease  has  been  eaten,  the 
relative  of  the  host  who  is  to  be  initiated  comes  out 
of  the  bedroom  in  which  the  whistles  are  sounding 
and  begins  to  dance  around  the  fire.  He  wears  a 
beautiful  carved  headdress  with  long  ermine  trail 
(Plate  47).  All  of  a sudden  he  throws  his  mask  off 
and  runs  out.  After  a short  while  a dancer  wear- 
ing the  Lao'laxa  mask  comes  in.  His  arrival  is 
announced  by  a relative  of  the  host  who  is  stationed 
Pig.  193.  at  the  door,  and  who  as  soon  as  the  dancer  ap- 

mask  of  no'mas.  proaches  shouts  “woi!”  It  is  supposed  that  when 
La'Lasiqoaia.  the  first  (jancer  threw  down  his  headdress,  he  be- 

Height,  12  inches.  came  possessed  by  the  spirit  of  the  Lao'laxa  and 

icai  Museum,  Berlin.  Collected  was  transformed  into  the  spirit  which  is  personated 
by f. bom.  by  the  mask.  Actually  another  dancer  wears  the 

mask.  After  one  circuit  of  the  fire  the  mask  disappears  again,  and  the 
novice,  for  so  we  may  call  him,  comes  forward  and  continues  the  dance 
which  was  interrupted  before.  The  people  accompany  the  dance  by  the 
Lao'laxa  song.  After  h.e  has  finished,  a few  women  dance  in  honor  of 
the  new  Lao'laxa.  The  host  joins  them,  carrying  a pole  about  6 feet 
long  on  his  shoulder.  The  pole  indicates  that  on  the  next  day  he  will 
give  another  feast,  to  which  he  invites  the  people,  after  ending  his  dance. 

In  the  evening  the  whole  tribe,  men,  women,  and  children,  assemble 
in  the  host’s  house  to  witness  the  dance,  and  the  performance  of  the 
morning  is  then  repeated. 

On  the  following  morning  the  messengers  go  out  again,  dressed  up 
and  having  their  faces  painted  red,  to  call  the  people  to  the  second  feast. 
The  ceremony  of  the  preceding  day  is  repeated,  but  another  Lao'laxa 
dance  maybe  shown.  This  is  repeated  again  in  the  evening,  when  the 

’Hame/Laqasa/  le  nsLa  qasex  (WalasLala).  (Here  they  introduce  the  name  of  that 
relative  of  the  host  who  is  made  Lao'laxa.) 


Report  of  U.  S.  National  Museum,  1895. — Boas. 


Plate  47. 


Lao'laxa  Dance. 

From  a photograph. 


» 


THE  KWAKIUTL  INDIANS. 


627 


whole  tribe  witness  the  performance.  At  the  end  of  the  performance 
the  host  announces  that  on  the  following  day  he  will  distribute  his 
blankets. 


Fig.  194. 

LAO'LAXA  MASKS  REPRESENTING  SEVEN  DIFFERENT  SPEAKERS. 

La'Lasiqoala.  Scale  §. 

IV  A,  Nos.  6882-6888,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  F.  Boas. 

The  next  morning  thena/qate  (the  counter  and  tally  keeper)  arranges 
the  blankets  in  piles,  one  for  each  clan,  placing  those  intended  for  the 
chief  of  the  clan  on  top.  Thus  the  bundles  are  tied  up.  In  the  evening 


628 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


the  whole  tribe  assembles,  and  when  all  are  seated  in  the  house,  the 
host  sings  his  secret  Lao'laxa  song.  He  is  followed  by  the  novice, 
who  also  sings  a secret  song,  and  dances,  wearing  the  headdress  with 
ermine  trail.  Again  he  throws  off  his  headdress,  runs  out,  and  a dancer 
appears  who  wears  the  Lao'laxa  mask.  After  his  dance  the  novice reap- 


Fig.  195. 

LAO'LAXA  MASK  REPRESENTING  THE  KILLER  WHALE. 

Scaled;  Mack,  red,  wliite. 

IV  A,  No.  1025,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 

pears  and  continues  his  dance.  Then  the  host  steps  forward,  and  in  a 
speech  gives  the  dancer  the  name  belonging  to  the  mask.  This  is  the 
end  of  the  Laf/laxa  proper,  and  the  whistles  are  heard  no  longer.  At 
some  festivals  a number  of  masked  persons,  who  represent  speakers, 
come  in  at  this  moment  and  take  hold  of  the  host.  Upon  being  asked 


THE  KWAKIUTL  INDIANS. 


629 


what  they  want,  they  praise  his  liberality,  saying  that  he  made  all  the 
tribes  fat  by  the  amount  of  grease  he  had  given.  Finally  they  are 
taken  out  of  the  house.  Then  the  blankets  are  placed  on  top  of  a 
drum,  which  is  laid  down  on  its  side.  The  man  whose  office  it  is  to  dis- 
tribute blankets  in  the  potlatch  (da/qEmayaenox  = taking  the  blanket 
at  its  top  edge),  of  whom  there  is  one  in  each  clan,  sits  on  top  of  the 
drum.  His  office  is  hereditary  in  the  male  line  and  considered  as  very 
important.  He  calls  the  people’s  names,  and  throws  the  blankets  upon 
a mat  lying  in  front  of  the  drum.  A man  standing  next  to  him  carries 
the  blankets  to  those  who  are  to  receive  them.  As  soon  as  the  blankets 
intended  for  one  clan  are  distributed,  he  calls,  u Let  us  change!” 

This  is  the  end  of  the  Lao'laxa. 


Fig.  196. 

RAVEN  MASK  AND  WHISTLE. 


Mask,  IV  A,  No.  550,  Royal  Ethnographical  Museum,  Berlin.  Scale  1^.  Collected  hy  A.  Jacobsen. 

Whistle,  IV  A,  No.  6897,  Royal  Ethnographical  Museum,  Berlin.  Scale  Collected  by  F.  Boas. 

The  rattles  used  by  the  Laodaxa  dancer  differ  from  those  used  in  the 
winter  ceremonial.  While  most  of  the  latter  are  round  (figs.  51-60,  pp. 
435-440),  the  former  have  the  shape  of  birds  which  carry  a number  of 
figures  on  their  backs  (figs.  190, 191,  pp.  623,  624).  Most  of  these  rattles 
represent  the  raven  with  upturned  tail.  The  face  of  a hawk  is  carved 
on  the  belly  of  the  raven.  A reclining  figure  is  placed  on  its  back. 
The  knees  of  this  figure  are  raised  and  grasped  by  the  hands.  A 
bird’s  head  is  represented  on  the  tail  of  the  raven.  These  rattles  are 
undoubtedly  conies  of  similar  ones  that  are  used  by  the  Haida  and 


630 


REPORT  OF  NATIONAL  MUSEUM,  1895. 

Tsimsbian.  The  primary  idea  underlying  the  form  of  rattle  seems  to 
have  been  lost,  since  the  only  explanation  that  has  ever  been  given  by 
the  northern  Indians  is  to  the  effect  that  it  was  given  to  their  ancestors 
by  a supernatural  being.  The  Kwakiutl  state  that  they  obtained  these 
rattles,  with  the  LaoTaxa  ceremonies,  from  the  He'iltsuq. 


Fig.  197. 

LAO'LAXA  DOUBLE  MASK  REPRESENTING  THE  SUN. 

Outer  mask,  clouded  sun ; inner  mask  (front  and  profile),  clear  sun.  Scale  £. 

IV  A,  No.  885,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 

A few  LaoTaxa  masks  are  shown  in  the  illustrations  on  pp.  625  to  630 
(figs.  192-197).  Following  are  some  of  the  songs: 

SONG  OF  THF.  DEER,  BELONGING  TO  THE  LA/LAUILELA  OF  THE  LA'LASIQOALA.1 

1.  We  will  drive  away  the  great  deer,  who  comes  standing  on  his  forelegs  over- 

towering  all  the  people,  covering  the  tribes,  the  great  deer,  said  by  all  to  he 
foolish. 

2.  We  shall  all  he  thin-faced,  and  dry  in  our  mouths.  2 We  will  go  and  cause  him 

had  luck  staring  at  him,  staring  at  him  until  he  gets  sleepy,  the  great  deer, 
said  by  all  to  be  foolish. 


1 Fig.  192,  page  625.  Appendix,  page  729. 

2 Because  he  gives  away  blankets  all  the  time  so  that  the  people  have  no  time  to  eat. 


THE  KWAKIUTL  INDIANS. 


631 


3.  He  was  the  first  to  make  everything  beautiful  again,  lighting  the  world  by  his 
glare,  by  the  highness  of  his  body,  by  the  copper  of  his  body.  His  antlers  are 
pure,  nnbroken,  solid  copper.  The  speakers  (chiefs)  of  all  the  tribes  take  off 
his  antlers.  Now  let  us  drive  him  away.  Let  him  jump  far  over  the  highest 
chief,  the  one  who  is  famous,  among  all  the  tribes,  the  great  deer,  said  by  all  to 
be  foolish. 

song  of  nu'nemaseqAlIs  or  qOa'lyakolal,  belonging  to  the  g-e'xsem  of  the 

NAQO'MG’ILISALA. 1 

1.  Longlife  to  you,  Nainas. 

2.  For  you  will  give  a feast,  No 'mas. 

3.  For  you  will  build  a fire  and  heat  stones  in  it,  No'mas. 

This  mask  and  song  are  used  in  both  Lao/laxa(viz7no/nLEm)and  ba/xus 
feasts. 

masks  and  song  of  ayI'lkoa  (speakers).2 

These  masks  are  used  in  the  dance  called  Adixane'sElaL  (Tongass 
dance).  According’  to  the  legend,  a La'Lasiqoala  canoe  drifted  ashore  in 
the  north  and  they  received  the  masks  as  presents  (Lo'kue)  from  the 
Tongass.  They  are  used  by  the  La'la-uiLEla  in  the  n^nLEm.  The 
masks  represent  speakers;  all  sing  and  dance  together.  The  names  of 
the  individual  masks  are  not  known. 

1.  Slowly  we  walk  a race  through  the  world. 

2.  Slowly  we  walk  a race  through  the  world. 

3.  Ha!  I am  the  one  who  made  the  sky  cloudy,  when  I came  from  the  north  end  of 

the  world. 

4.  Ha!  I am  the  one  who  brought  the  fog,  when  I came  from  the  north  end  of  the 

world. 

5.  Ha ! T am  the  one  who  brought  the  aurora,  when  I came  from  the  great  copper 

b ringer. 

6.  Ha ! I am  the  one  who  brought  the  warmth,  when  I came  from  the  great  one  who 

brightens  the  world  (the  sun). 

7.  Ha!  And  then  he  will  dance  like  a Tongass,  your  successor  whom  we  praise. 

SONG  OF  THE  KILLER  WHALE.3 

A mask  of  the  Kwakiutl,  obtained  by  marriage  from  the  Hedltsuq. 

1.  Praise  the  great  killer  whale,  the  great  chief,  when  he  emerges  in  our  house. 
SON&  OF  THE  RAVEN.4 

1.  Qaqa'm  qa  qau.  You  are  soaring  through  the  world,  great  raven. 

2.  Qaqa'm  qa  qau.  You  know  how  to  obtain  property,  great  raven. 

SECRET  SONG  OF  A LAO'LAXA  DANCER.5 

1.  O,  you  small  chiefs,  yiyaha. 

2.  You  small  ones  are  speaking  to  me,  yiyaha. 


1 Fig.  193,  page  626 ; Appendix,  page  729.  2 Fig.  194,  page  627 ; Appendix,  page  730. 

3Fig.  195,  page  628;  Appendix,  page  730.  4 Fig.  196,  page  629;  Appendix,  page  731. 

5Appendix,  page  731. 


632 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


The  Ts’o'noqoa  is  also  used  in  Lao'laxa  dances.  When  she  enters, 
she  wears  a large  basket  on  her  back,  in  which  she  carries  coppers. 
These  are  given  to  the  host,  who  gives  them  away.  In  the  legend,  she 
carries  a basket  into  which  she  puts  children,  whom  she  takes  to  her 
house. 

As  stated  before,  a number  of  the  songs  given  in  Chapter  VIII,  so 
far  as  they  belong  to  the  La'Lasiqoala,  must  be  counted  in  this  group. 

In  another  dance  the  sun  mask  (fig.  197,  p.  630)  is  used.  The  outer 
mask  represents  the  cloudy  sky,  while  the  inner  mask  represents  the 
clear  sunshine. 

XIII.  The  Religtous  Ceremonials  of  other  Tribes  of  the 
North  Pacific  Coast. 

THE  NOOTKA. 

The  Nootka  speak  a dialect  distantly  related  to  the  Kwakiutl.  They 
have  two  ceremonials,  which  are  analogous  to  the  winter  ceremonial  of 
the  Kwakiutl.  Good  descriptions  of  the  customs  connected  with  these 
ceremonials  have  been  given  by  Sproat,  Swan,  Jewitt,  and  Knipping. 
I will  repeat  here  what  I have  said  on  this  subject  in  another  place.1 
The  name  of  the  ceremonial  among  the  Nootka  is  Lp'koala,  a Kwakiutl 
word,  which  designates  the  finding  of  a manitou.  The  ceremonial  cor- 
responds very  nearly  to  the  Walas’axa'  and  to  the  Lo'koala  of  the 
Kwakiutl  (pp.  477,  478).  Certain  features  are,  however,  embodied  in  it, 
which  correspond  to  other  dances,  mainly  to  the  ma/tEm  and  the  ha/- 
mats’a.  The  Lo'koala  are  a secret  society  who  celebrate  their  festivals 
in  winter  only.  They  have  a chief  whose  name  is  Yaqsyaqste'itq. 
Anyone  who  wishes  to  join  the  Lo'koala  can  do  so,  or  the  society  may 
invite  a man  to  become  a member.  Then  the  friends  of  this  man  make 
a collection  in  his  behalf  and  turn  over  the  property  collected  to  the 
chief  of  the  Lo'koala,  who  distributes  it  during  a feast  among  the  mem- 
bers. Those  who  are  not  Lo'koala  are  called  wlcta/k*u,  i.  e.,  not  being 
shamans.  The  Lo'koala  is  believed  to  have  been  instituted  by  the 
wolves,  the  tradition  being  that  a chief’s  son  was  taken  away  by 
the  wolves,  who  tried  to  kill  him,  but,  being  unsuccessful  in  their 
attempts*  became  his  friends  and  taught  him  the  Lo'koala.  They 
ordered  him  to  teach  his  people  the  ceremonies  on  his  return  home. 
They  carried  the  youth  back  to  his  village.  They  also  asked  him  to 
leave  some  red  cedar  bark  for  their  own  Lo'koala  behind,  whenever 
he  moved  from  one  place  to  another;  a custom  to  which  the  Nootka 
tribes  still  adhere.  Every  new  member  of  the  Lo'koala  must  be  ini- 
tiated by  the  wolves.  At  night  a pack  of  wolves — that  is,  Indians 
dressed  in  wolf  skins  ahd  wearing  wolf  masks — make  their  appear- 
ance, seize  the  novice,  and  carry  him  into  the  woods.  When  the  wolves 
are  heard  outside  the  village  coming,  in  order  to  fetch  the  novice, 


Report  of  the  British  Association  lor  the  Advancement  of  Science,  1890,  page  47. 


THE  KWAKIUTL  INDIANS. 


633 


the  members  of  the  Lo'koala  blacken  their  faces  and  sing  the  follow- 
ing song:1 

Among  all  the  tribes  is  great  excitement  because  I am  Lo'koala. 

On  the  following  day  the  wolves  return  the  novice  dead.  Then  the 
Lo'koala  must  revive  him.  The  wolves  are  supposed  to  have  put 
the  magic  stone  haina2  into  his  body,  which  must  be  removed  in  order 
to  restore  him  to  life.  The  body  is  left  outside  the  house  and  two 
shamans  go  to  remove  the  haina.  It  seems  that  this  stone  is  quartz. 
The  idea  is  the  same  as  that  found  among  the  Kwakiutl,  where  the 
Ma/tEm  is  initiated  by  means  of  quartz,  which  is  put  into  his  body  by 
the  spirit  of  his  dance.  The  returning  novice  is  called  u'cmak. 

After  the  novices  have  been  restored  to  life,  they  are  painted  red 
and  black.  Blood  is  seen  to  stream  from  their  mouths,  and  they  run 
at  once  down  to  the  beach  and  jump  into  the  water.  Soon  they  are 
found  to  drift  lifeless  on  the  water.  A canoe  is  sent  out  and  the  bod- 
ies are  gathered  in  it.  As  soon  as  the  canoe  lands,  they  all  return 
to  life,  resort  to  the  dancing  house,  to  which  none  but  the  initiated 
are  admitted,  and  stay  there  for  four  days.  At  night,  dances  are  per- 
formed in  the  honse,  which  the  whole  population  is  allowed  to  witness. 
After  the  four  days  are  over,  the  novices  leave  the  house,  their  heads 
being  wound  with  wreaths  of  hemlock  ( ?)  branches.  They  go  to  the 
river,  in  which  they  swim,  and  after  some  time  are  fetched  back  by 
a canoe.  They  are  almost  exhausted  from  the  exertions  they  have 
undergone  during  the  foregoing  days.  Novices  must  eat  nothing  but 
dried  fish  and  dried  berries. 

Each  Lo'koala  lasts  four  days.  It  is  only  celebrated  when  some 
member  of  the  tribe  gives  away  a large  amount  of  property  to  the 
Lo'koala,  the  most  frequently  occurring  occasion  being  the  initiation  of 
new  members.  Sometimes  it  is  celebrated  at  the  time  of  the  ceremo- 
nies which  are  practiced  when  a girl  reaches  maturity.  The  house  of 
the  man  who  pays  for  the  Lo'koala  seems  to  be  the  taboo  house  of  the 
society.  As  soon  as  the  Lo'koala  begins,  the  ordinary  social  organiza- 
tion of  the  tribe  is  suspended,  as  is  also  the  case  among  the  Kwakiutl. 
The  people  arrange  themselves  in  companies  or  societies,  which  bear 
the  names  of  the  various  Nootka  tribes,  no  matter  to  which  tribe  and 
sept  the  persons  actually  belong.  Each  society  has  festivals  of  its  own, 
to  which  members  of  the  other  societies  are  not  admitted,  although 
they  may  be  invited.  These  societies  are  called  u'paL.  Each  has  a 
certain  song,  which  is  sung  during  their  festivities.3 

At  night,  when  the  whole  tribe  assemble  in  the  taboo  house,  the 
societies  still  keep  together.  They  are  hostile  to  each  other,  and 
railleries  between  the  various  groups  are  continually  going  on.  It 

1 Appendix,  page  731. 

2Xue/la,  Kwakiutl.  The  x of  the  Kwakiutl  is,  in  the  Ts’Ecia/ath  dialect  of  the 
Nootka,  from  whom  I obtained  the  word,  always  changed  into  h;  n and  1 alternate 
constantly,  for  instance,  Lo'kuale  and  Lo'kuane. 

3 Appendix,  pages  731,  732. 


634 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


seems  that  there  are  no  separate  societies  for  men  and  women,  but  a 
certain  division  must  exist,  as  they  seem  to  have  separate  feasts.  When 
a man,  during  a Lo'koala,  brings  in  any  game,  and  he  does  not  give  half 
of  it  to  the  women,  but  retains  the  whole  for  the  use  of  the  men,  the 
former  will  attack  him  and  wrest  the  share  due  to  them  from  the  men. 
In  the  same  way  the  women  must  share  all  they  get  or  cook  with  the  men. 

Originally  each  dance  belonged  to  one  family,  and  was  transmitted 
from  generation  to  generation.  Mother  as  well  as  father  had  the  right 
to  transfer  their  dances  to  their  children.  Thus  dances  which  belonged 
to  one  tribe  were  transmitted  to  others.  The  dance  was  given  to  the 
novice  at  the  time  of  his  or  her  initiation,  and  no  more  than  one  dance 
could  be  given  at  a time.  At  present  these  restrictions  are  becoming 
extinct.  Whoever  is  rich  enough  to  distribute  a sufficient  amount  of 
property  may  take  any  dance  he  likes.  I was  even  told  that  the  chief 
of  the  Lo'koala  at  the  beginning  of  the  dancing  season  distributes  the 
various  dances  among  the  members  of  the  order,  and  that  he  may 
redistribute  them  at  the  beginning  of  the  following  season. 

It  is  a peculiarity  of  the  dances  of  the  Nootka  that  two  masks  of  the 
same  kind  always  dance  together. 

Among  the  dances  belonging  to  the  Lo'koala  I mention  the  aai'Lqe 
(feathers  on  head).  He  is  supposed  to  be  a being  living  in  the  woods. 
The  dancer  wears  no  mask,  but  a head  ornament  of  cedar  bark  dyed 
led,  which  is  the  badge  of  the  Lo'koala.  His  badge  consists  of  a ring 
from  which  four  feathers  wound  with  red  cedar  bark  rise,  three  over 
the  forehead,  one  in  the  back.  The  face  of  the  dancer  is  smeared  with 
tallow  and  then  strewn  with  down.  The  ornaments  of  each  dancer  of 
the  aai'Lqe,  as  well  as  of  all  others,  must  be  their  personal  property. 
They  must  not  be  loaned  or  borrowed.  The  song  of  the  aai'Lqe  will 
be  found  in  the  Appendix  (p.  732). 

Another  dance  is  that  of  the  hi'nEmix*,  a fabulous  bird-like  being. 
The  dancer  wears  the  head  mask  shown  in  Plate  48.  In  the  top  of  the 
mask  there  is  a hole  in  which  a stick  is  fastened,  which  is  greased  and 
covered  with  down.  When  the  dancer  moves,  the  down  becomes  loose, 
and  whoever  among  the  spectators  catches  a feather  receives  a blanket 
from  the  chief  of  the  Lb'koala.  The  song  of  the  hi'nEmix*  is  given  in 
the  Appendix  (p.  732). 

The  A'Linaxkb  is  a dance  in  which  two  men  wearing  two  human 
masks  appear.  The  masks  are  called  A'Lmaxko.  When  they  appear,  the 
spectators  sing: 

j J I J J | n J ;| 

Kwai  - as  kwai  - as  A'l  - max-kd 
I.  e.,  Back  out,  back  out,  A'Lmaxkd. 

Then  they  leave  the  house  and  run  about  in  the  village.  The 
A'Lmaxkd  is  a being  living  in  the  woods.  The  first  to  see  him  was  a 
Netcumu'asath,  and  ever  since  this  sept  dances  the  A'Lmaxko  dance. 


Report  of  U.  S.  National  Museum,  1895.— Boas, 


Plate  48. 


Mask  of  the  Nootka,  representing  the  Hi'nemix. 

Museum  of  the  Geological  Survey  of  Canada,  Ottawa.  Collected  by  F.  Boas. 


Report  of  U.  S.  National  Museum,  1895.—  Boas. 


Plate  49. 


Masks  of  the  Nootka. 

Nos.  222  and  223,  K.  K.  Hofmuseum,  Vienna. 


• ! ' 


Report  of  U.  S.  National  Museum,  1895.— Boas. 


Plate  50. 


Rattle  of  the  Nootka. 

British  Museum. 


THE  KWAKIUTL  INDIANS. 


635 


The  sa'nEk  (panther)  corresponds  nearly  to  the  nuLmaL  of  the 
Kwakiutl.  The  dancer  wears  a large  head  mask,  like  that  of  the  hi'nE- 
mix*,  and  a bearskin.  He  knocks  everything  to  pieces,  pours  water 
into  the  fire,  and  tears  dogs  to  pieces  and  devours  them.  Two  canine 
teeth  in  the  mouth  of  the  mask  are  its  most  characteristic  feature.  A 
rope  is  tied  around  his  waist,  by  which  he-is  led  by  some  attendants. 

The  hl'JLtaq,  self-torture,  corresponds  to  the  hawT'nalaL  of  the  Kwa- 
kiutl. The  dancers  rub  their  bodies  with  the  juice  of  certain  herbs,  and 
push  small  lances  through  the  flesh  of  the  arms,  the  back,  and  the  flanks. 

Other  dances  are  the  pu'kmis  dance,  in  which  the  dancer  is  cov- 
ered all  over  with  pipeclay;  the  hu'Lmis  dance — the  hu'Lmis  is 
another  being  which 
lives  in  the  woods  and 
is  always  dancing — 
performed  by  women 
only,  who  wear  orna- 
ments of  red  cedar 
bark  and  birds’  down 
and  who  dance  with 
one  hand  extended 
u p war d,  the  o t h e r 
hanging  downward; 
the  a/yeq  dance,  in 
which  the  dancer 
knocks  to  pieces  and 
destroys  in  other 
ways  household 
utensils,  canoes,  and  other  kinds  of  property;  and  dances  represent- 
ing a great  variety  of  animals,  particularly  birds.  - The  masks  are  all 
much  alike  in  type  (fig.  198).  Head  rings  made  of  red  cedar  bark  are 
worn  in  these  dances. 

Plate  49  shows  an  old  bird  mask  and  an  old  mask  representing  a 
human  face.  They  are  from  the  west  coast  of  Vancouver  Island,  and 
were  probably  made  before  the  beginning  of  this  century.  Plate  50 
represents  the  type  of  rattle  used  by  the  Kootka.  The  present  specimen 
was  probably  collected  on  Cook’s  journey  around  the  world. 

The  tribes  north  of  Barclay  Sound  have  a dance  in  which  the  per- 
former cuts  long  parallel  gashes  into  his  breast  and  arms.  The 
ha/mats’a  dance,  which  has  been  obtained  by  intermarriage  from  the 
Kwakiutl,  has  spread  as  far  south  as  Kutca/lath.  The  killing  of 
slaves,  which  has  been  described  by  Sproat1  and  Knipping,  may  belong 
to  this  part  of  the  Lo'koala. 

Sproat  describes  the  following  events: 

In  December,  1864,  the  Seshaht  Indians,  then  occupying  tbeir  village  close  to 
Alberni,  put  one  of  their  women  to  a violent  death.  The  day  before  they  commenced 


MASK  OF  THE  NOOTKA. 

Xeeali  Bay. 

Cat.  No.  23439,  U.  S.  N.  M.  Collected  by  J.  G.  Swan. 


Scenes  and  Studies  of  Savage  Life/7  page  155. 


636 


REPOET  OP  NATIONAL  MUSEUM,  1895. 


a celebration  of  a peculiar  character,  which  was  to  last  several  (lays,  and  the 
murder  of  the  woman  formed,  no  doubt,  a part  of  this  celebratiou.  The  woman 
was  stabbed  to  death  by  an  old  man  in  whose  house  she  lived,  and  who  probably 
owned  her  as  a slave,  and  offered  her  for  a victim.  The  body  w^as  then  laid  out, 
without  a covering,  by  the  water  side,  about  150  yards  from  the  houses.  There 
appeared  to  be  no  inclination  to  bury  the  body,  and  it  was  only  after  the  chief  had 
been  strongly  remonstrated  with  that  the  poor  victim’s  remains  were  removed,  after 
two  days’  exposure.  I observed  that,  even  after  this  removal,  certain  furious  rites 
took  place  over  the  very  spot  where  the  body  had  been  exposed.  The  chief  feature 
of  the  celebration,  apart  from  the  murder,  was  a pretended  attack  upon  the  Indian 
settlement  by  wolves,  which  were  represented  by  Indians,  while  the  rest  of  the 
population,  painted,  armed,  and  with  furious  shouts,  defended  their  houses  from 
attack.  The  horrid  practice  of  sacrificing  a victim  is  not  annual,  but  only  occurs 
either  once  in  three  years,  or  else  (which  is  more  probable)  at  uncertain  intervals; 
always,  however,  when  it  does  happen,  the  sacrifice  takes  place  during  the  Klooh- 
quahn-nah  (Lo’koala)  season,  which  lasts  from  about  the  middle  of  November  to 
the  middle  of  January.  The  Klooh-quahn-nali  or  Klooh-quel-lah  is  a great  festival, 
observed  annually  by  all  the  Aht  tribes,  after  their  return  from  their  fishing  grounds 
to  the  winter  encampment.  It  is  generally  a time  of  mirth  and  feasting,  during 
which  tribal  rank  is  conferred  and  homage  done  to  the  chief,  in  a multitude  of 
observances  which  have  now  lost  their  meaning,  and  can  not  be  explained  by  the 
natives  themselves.  I was  not  aware,  until  this  murder  was  committed  under  our 
eyes,  that  human  sacrifices  formed  any  part  of  the  Ivlooh-quahn-nah  celebration. 
I should  think  it  likely  that  old  worn-out  slaves  are  generally  the  victims.  The 
Seshaht  Indians  at  Alberni  represent  the  practice  as  most  ancient,  and  the  fact  that 
the  other  tribes  of  the  Aht  nation  (about  twenty  in  number)  observe  it,  favors  this 
supposition.  Their  legends  somewhat  differ  as  to  this  practice,  some  saying  that  it 
was  instituted  by  the  creator  of  the  world;  others  that  it  arose  from  the  sons  of  a 
chief  of  former  times  having  really  been  seized  by  wolves.1  To  some  extent  it  is  a 
secret  institution,  the  young  children  not  being  acquainted  with  it  until  formally 
initiated.  Many  of  them  during  the  horrid  rite  are  much  alarmed;  the  exhibition 
of  ferocity,  the  firing  of  guns  and  shouting  being  calculated,  and  probably  intended, 
to  excite  their  fears.  Part  of  a day  is  given  up  to  an  instruction  of  those  children 
who  are  to  be  initiated,  and  it  is  impressed  upon  them  that  the  Klooh-quahn-nah 
must  always  be  kept. up,  or  evil  will  happen  to  the  tribe.  The  tendency,  no  doubt, 
and  probably  the  intention  of  this  human  sacrifice,  and  the  whole  celebration,  is  to 
destroy  the  natural  human  feeling  against  murder,  and  to  form  in  the  people  gener- 
ally, and  especially  in  the  rising  generation,  hardened  and  fierce  hearts.  They  them- 
selves say  that  their  “ hearts  are  bad,”  as  long  as  it  goes  on.  In  the  attendant  cere- 
monies their  children  are  taught  to  look,  without  any  sign  of  feeling,  upon  savage 
preparations  for  war,  strange  dances  performed  in  hideous  masks  and  accompanied 
by  unearthly  noises,  and  occasionally,  at  least,  upon  the  cruel  destruction  of  human 
life.  Although  I have  no  direct  evidence  of  the  fact,  I believe  that  part  of  the 
course  of  those  to  be  initiated  would  be  to  view,  howl  over,  and  perhaps  handle  or 
even  stick  their  knives  into  the  dead  body  of  the  victim,  without  showing  any  sign 
of  pity  or  of  horror. 


rrhese  Indians  imitate  animals  and  birds  extremely  well,  such  as  wolves  or 
crows.  At  this  Klooh-quahn-nah  celebration  they  had  their  hair  tied  out  from  their 
heads,  so  as  to  represent  a wolf’s  head  and  snout,  and  the  blanket  was  arranged 
to  show  a tail.  The  motion  of  the  wolf  in  running  was  closely  imitated.  More  ex- 
traordinary still  was  their  acting  as  crows;  they  had  a large  wooden  bill,  and 
blankets  arranged  so  like  wings  that,  in  the  dusk,  the  Indians  really  seemed  like 
large  crows  hopping  about,  particularly  when,  after  the  manner  of  these  birds, 
they  went  into  the  shallow  water,  and  shook  their  wings  and  “ dabbed”  with  their 
long  bills. 


THE  KWAKIUTL  INDIANS.  637 

The  following  description  may  also  refer  to  part  of  this  ceremonial:1 

During  the  song  and  dance,  which  at  first  seemed  to  present  nothing  peculiar,  a 
well-known  slave  (one,  however,  who  was  in  a comparatively  independent  position, 
being  employed  as  a sailor  on  hoard  the  steamer  Thames ),  suddenly  ceased  dancing, 
and  fell  down  on  the  ground,  apparently  in  a dying  state,  and  having  his  face  covered 
with  blood.  He  did  not  move  or  speak,  his  head  fell  on  one  side,  his  limbs  were 
drawn  up,  and  he  certainly  presented  a ghastly  spectacle.  While  the  dance  raged 
furiously  around  the  fallen  man,  the  doctor,  with  some  others,  seized  and  dragged 
him  to  the  other  side  of  the  fire  round  which  they  were  dancing,  placing  his  naked 
feet  very  near  the  flames.  After  this  a pail  of  water  was  brought  in,  and  the 
doctor,  who  supported  the  dying  man  on  his  arm,  washed  the  blood  from  his  face; 
the  people  beat  drums,  danced,  and  sang,  and  suddenly  the  patient  sprang  to  his 
feet  and  joined  in  the  dance,  none  the  worse  for  the  apparently  hopeless  condition 
of  the  moment  before.  While  all  this  was  going  on,  I asked  the  giver  of  the  feast 
whether  it  was  real  blood  upon  the  man’s  face,  and  if  he  were  really  wounded.  He 
told  me  so  seriously  that  it  was,  that  I was  at  first  inclined  to  believe  him,  until  he 
began  to  explain  that  the  blood  which  came  from  the  nose  and  mouth  was  owing  to 
the  incantations  of  the  medicine  man,  and  that  all  the  people  would  be  very  angry 
if  he  did  not  afterwards  restore  him.  I then  recalled  to  mind  that  in  the  early 
part  of  the  day,  before  the  feast,  I had  seen  the  doctor  and  the  slave  holding  very 
friendly  conferences ; and  the  former  had  used  his  influence  to  get  a pass  for  the 
latter  to  be  present  at  the  entertainment,  to  which,  probably,  he  had  no  right  to 
come. 

In  Jewett’s  narrative2  the  following  description  of  part  of  the  Lo'ko- 
ala  occurs : 

On  the  morning  of  December  13,  another  strange  ceremony  began,  by  the  king’s 
firing  a pistol,  apparently,  without  a moment’s  warning,  close  to  the  ear  of  Satsat 
who  dropped  down  instantly  as  if  shot  dead  on  the  spot. 

Upon  this  all  the  women  set  up  a most  terrible  yelling,  tearing  out  their  hair 
by  handfuls,  and  crying  out- that  the  prince  was  dead,  when  the  men  rushed  in, 
armed  with  guns  and  daggers,  inquiring  into  the  cause  of  the  alarm,  followed  by 
two  of  the  natives  covered  with  wolf  skins,  with  masks  representing  the  wolf’s  head. 

These  two  came  in  on  all  fours,  and  taking  up  the  prince  on  their  back,  carried 
him  out,  retiring  as  they  had  entered.  * * * 

The  celebration  terminated  with  a shocking  and  distressing  show  of  deliberate 
self-torment. 

These  men,  each  with  two  bayonets  run  through  their  sides,  between  the  ribs, 
walked  up  and  down  in  the  room,  singing  war  songs,  and  exulting  in  their  firmness 
and  triumph  over  pain  (p.  187).  * * * 

The  religious  ceremonies  (in  another  village)  were  concluded  by  20  men  who 
entered  the  house,  with  arrows  run  through  their  sides  and  arms,  having  strings 
fastened  to  them,  by  which  the  spectators  twisted,  or  pulled  them  back,  as  the  men 
walked  round  the  room,  singing  and  boasting  of  their  power  to  endure  suffering 
(p.  192). 

Another  description  of  the  ceremonial  has  been  given  by  James  G. 
Swan:3 

The  Dukwally  (i.  e.,  lo’koala)  and  other  tama'nawas  performances  are  exhibitions 
intended  to  represent  incidents  connected  with  their  mythological  legends.  There 

]Sproat,  “Scenes  and  Studies  of  Savage  Life,”  page  68. 

2“Tlie  Captive  of  Nootka,  or  the  Adventures  of  John  R.  Jewett,”  Philadelphia, 
1841,  page  184. 

3 “The  Indians  of  Cape  Flattery,”  page  66, 


638 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


are  a great  variety,  and  they  seem  to  take  the  place,  in  a measure,  of  theatrical 
performances  or  games  during  the  season  of  the  religious  festivals.  There  are  no 
persons  especially  set  apart  as  priests  for  the  performance  of  these  ceremonies, 
although  some,  who  seem  more  expert  than  others,  are  usually  hired  to  give  life  to 
the  scenes,  hut  these  performers  are  quite  as  often  found  among  the  slaves  or  com- 
mon people  as  among  the  chiefs,  and  excepting  during  the  continuance  of  the  festiv- 
ities are  not  looked  on  as  of  any  particular  importance.  On  inquiring  the  origin  of 
these  ceremonies,  I was  informed  that  they  did  not  originate  with  the  Indians,  but 
were  revelations  of  the  guardian  spirits,  who  made  known  what  they  wished  to  he 
performed.  An  Indian,  for  instance,  who  has  been  consulting  with  his  guardian 
spirit,  which  is  done  by  going  through  the  washing  and  fasting  process  before 
described,  will  imagine  or  think  he  is  called  upon  to  represent  the  owl.  He  arranges 
in  his  mind  the  style  of  dress,  the  number  of  performers,  the  songs  and  dances  or  other 
movements,  and,  having  the  plan  perfected,  announces  at  a tama'nawas  meeting  that 
he  has  had  a revelation  which  he  will  impart  to  a select  few.  These  are  then  taught 
and  drilled  in  strict  secrecy,  and  when  they  have  perfected  themselves,  will  sud- 
denly make  their  appearance  and  perform  before  the  astonished  tribe.  Another 
Indian  gets  up  the  representation  of  the  Avhale,  others  do  the  same  of  birds,  and  in 
fact  of  everything  that  they  can  think  of.  If  any  performance  is  a success,  it  is 
repeated,  and  gradually  comes  to  be  looked  upon  as  one  of  the  regular  order  in  the 
ceremonies;  if  it  does  not  satisfy  the  audience,  it  is  laid  aside.  Thus  they  have  per- 
formances that  have  been  handed  down  from  remote  ages,  while  others  are  of  a more 
recent  date.  * * * 

The  ceremony  of  the  great  Dukwally  or  the  thunder  bird  originated  with  the 
Hesh-kwi-et  Indians,  a band  of  Nittinats  living  near  Barclay  Sound,  Vancouver 
Island,  and  is  ascribed  to  the  following  legend: 

Two  men  had  fallen  in  love  with  one  woman,  and  as  she  would  give  neither  the 
preference,  at  last  they  came  to  a quarrel.  But  one  of  them,  who  had  better  sense 
than  the  other,  said:  “Don’t  let  its  fight  about  that  squaw;  I will  go  out  and  see 
the  chief  of  the  wolves,  and  he  will  tell  me  what  is  to  be  done.  But  I can  not 
get  to  his  lodge  except  by  stratagem.  Now  they  know  we  are  at  variance,  so  do  you 
take  me  by  the  hair,  and  drag  me  over  these  sharp  rocks  which  are  covered  with 
barnacles,  and  I shall  bleed,  and  I will  pretend  to  be  dead,  and  the  wolves  Avill  come 
and  carry  me  away  to  their  house.”  The  other  agreed,  and  dragged  him  over  the 
rocks  till  he  was  lacerated  from  head  to  foot,  and  then  left  him  out  of  reach  of  the 
tide.  The  wolves  came,  and,  supposing  him  dead,  carried  him  to  the  lodge  of  their 
chief,  but  when  they  got  ready  to  eat  him,  he  jumped  up  and  astonished  them  at  his 
boldness.  The  chief  wolf  was  so  much  pleased  with  his  bravery  that  he  imparted  to 
him  all  the  mysteries  of  the  thunder-bird  performance,  and  on  his  return  home  he 
instructed  his  friends,  and  the  Dukwally  was  the  result.  The  laceration  of  the  arms 
and  legs  among  the  Makahs,  during  the  performance  to  be  described,  is  to  represent 
the  laceration  of  the  founder  of  the  ceremony  from  being  dragged  over  the  sharp 
stones. 

A person  intending  to  give  one  of  these  performances  first  gathers  together  as 
much  property  as  he  can  obtain,  in  blankets,  guns,  brass  kettles,  beads,  tin  pans, 
and  other  articles  intended  as  presents  for  his  guests,  and  procures  a sufficient  quan- 
tity of  food,  which  of  late  years  consists  of  flour,  biscuit,  rice,  potatoes,  molasses, 
dried  fish,  and  roots.  He  keeps  his  intention  a secret  until  lie  is  nearly  ready,  and 
then  imparts  it  to  a few  of  his  friends,  who,  if  need  be,  assist  him  by  adding  to  his 
stock  of  presents  of  food.  The  first  intimation  the  village  has  of  the  intended 
ceremonies  is  on  the  night  previous  to  the  first  day’s  performance.  After  the  com- 
munity have  retired  for  the  night,  which  is  usually  between  9 and  10  o’clock,  the 
performers  commence  by  hooting  like  owls,  howling  like  wolves,  and  uttering  a 
sharp  whistling  sound  intended  to  represent  the  blowing  and  whistling  of  the  wind. 
Guns  are  then  fired,  and  all  the  initiated  collect  in  the  lodge  where  the  ceremonies 


THE  KWAKIUTL  INDIANS. 


639 


are  to  be  performed,  and  drum  with  their  heels  on  boxes  or  boards,  producing  a 
sound  resembling  thunder.  The  torches  of  pitch  wood  are  flashed  through  the  roof 
of  the  house,  and  at  each  flash  the  thunder  rolls,  and  then  the  whole  assemblage 
whistles  like  the  wind.  As  soon  as  the  noise  of  the  performers  commences,  the 
uninitiated  fly  in  terror  and  hide  themselves,  so  great  being  their  superstitious 
belief  in  the  supernatural  powers  of  the  Dukwally  that  they  have  frequently  fled  to 
my  house  for  protection,  knowing  very  well  that  the  tama'nawas  performers  would 
not  come  near  a white  man.  They  then  visit  every  house  in  the  village,  and  extend 
an  invitation  for  all  to  attend  the  ceremonies.  This  having  been  done,  the  crowd 
retire  to  the  lodge  of  ceremonies,  where  the  drumming  and  singing  are  kept  up  till 
near  daylight,  when  they  are  quiet  for  a short  time,  and  at  sunrise  begin  again. 
The  first  five  days  are  usually  devoted  to  secret  ceremonies,  such  as  initiating  can- 
didates, and  a variety  of  performances,  which  consist  chiefly  in  songs  and  chorus 
and  drumming  to  imitate  thunder.  They  do  this  part  very  well,  and  their  imitation 
of  thunder  is  quite  equal  to  that  produced  in  the  best  equipped  theatre. 

What  the  ceremony  of  initiation  is  I have  never  learned.  That  of  the  Clallams, 
which  I have  witnessed,  consists  in  putting  the  initiates  into  a mesmeric  sleep ; but  if 
the  Makahs  use  mesmerism,  or  any  such  influence,  they  do  not  keep  the  candidates 
under  it  for  any  great  length  of  time,  as  I saw  them  every  day  during  the  cere- 
monies, walking  out  during  the  intervals.  The  first  outdoor  performance  usually 
commences  on  the  fifth  day,  and  this  consists  of  the  procession  of  males  and  females, 
with  their  legs  and  arms,  and  sometimes  their  bodies,  scarified  with  knives,  and 
every  wound  bleeding  freely.  The  men  are  entirely  naked,  but  the  women  have 
on  a short  petticoat.  * * * [The  wounds  are  made  as  follows :]  A bucket  of 

water  was  placed  in  the  center  of  the  lodge,  and  the  candidates  squatting  around  it 
washed  their  arms  and  legs.  The  persons  who  did  the  cutting,  and  who  appeared 
to  be  any  one  who  had  sharp  knives,  butcher  knives  being  preferred,  grasped  them 
firmly  in  the  right  hand  with  the  thumb  placed  along  the  blade,  so  as  to  leave  but 
an  eighth  or  quarter  of  an  inch  of  the  edge  bare;  then,  taking  hold  of  the  arm  or 
leg  of  the  candidate,  made  gashes  5 or  6 inches  long  transversally,  and  parallel  with 
the  limb,  four  or  five  gashes  being  cut  each  way.  Cuts  were  thus  made  on  each 
arm  above  and  below  thq  elbow,  on  each  thigh,  and  the  calves  of  the  legs;  some, 
but  not  all,  were  likewise  cut  on  their  backs.  The  wounds  were  then  washed  with 
water  to  make  the  blood  run  freely.  * * * When  all  was  ready,  the  procession 

left  the  lodge  and  marched  in  single  file  down  to  the  beach,  their  naked  bodies 
streaming  with  blood,  presenting  a barbarous  spectacle.  A circle  was  formed  at  the 
water’s  edge,  round  which  this  bloody  procession  marched  slowly,  making  gesticula- 
tions and  uttering  howling  cries. 

Five  men  now  came  out  of  the  lodge  carrying  the  principal  performer.  One  held 
him  by  the  hair,  and  the  others  by  the  arms  and  legs.  He,  too,  was  cut  and  bleeding 
profusely.  They  laid  him  down  on  the  beach  on  the  wet  sand,  and  left  him,  while 
they  marched  off  and  visited  every  lodge  in  the  village,  making  a circuit  iu  each 
lodge.  At  last  the  man  on  the  beach  jumped  up,  and  seizing  a club  laid  about 
him  in  a violent  manner,  hitting  everything  in  his  way.  He,  too,  went  the  same 
round  as  the  others,  and  after  every  lodge  had  been  visited,  they  all  returned  to  the 
lodge  from  which  they  had  issued,  and  the  performances  outdoor  were  closed  for 
that  day.  In  the  meanwhile  a deputation  of  fifteen  or  twenty  men,  with  faces 
painted  black  and  sprigs  of  evergreen  in  their  hair,  had  been  sent  to  the  other  villages 
with  invitations  for  guests  to  come  and  receive  presents.  They  went  in  a body  to 
each  lodge,  and  after  a song  and  a chorus  the  spokesman  of  the  party,  in  a loud 
voice,  announced  the  object  of  their  visit,  and  called  the  names  of  the  invited  per- 
sons. Anyone  has  a right  to  be  present  at  the  distribution,  but  only  those  specially 
invited  will  receive  any  presents. 

Every  evening  during  the  ceremonies,  excepting  those  of  the  first  few  days,  is 
devoted  to  masquerade  and  other  amusements,  when  each  lodge  is  visited  and  a 


640 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


performance  enacted.  * * * The  masks  are  made  principally  ky  the  Clyoquot 

and  Nittinat  Indians,  and  sold  to  the  Makahs,  who  paint  them  to  suit  their  own 
fancies.  They  are  made  of  alder,  maple,  and  cottonwood;  some  are  very  ingeniously 
executed,  having  the  eyes  and  lower  jaw  movable.  By  means  of  a string  the  per- 
former can  make  the  eyes  roll  about,  and  the  jaws  gnash  together  with  a fearful 
clatter.  As  these  masks  are  kept  strictly  concealed  until  the  time  of  the  perform- 
ances, and  as  they  arc  generally  produced  at  night,  they  are  viewed  with  awe  by  the 
spectators;  and  certainly  the  scene  in  one  of  these  lodges,  dimly  lighted  by  the  fires 
which  show  the  faces  of  the  assembled  spectators  and  illuminate  the  performers, 
presents  a most  weird  and  savage  spectacle  when  the  masked  dancers  issue  forth 
from  behind  a screen  of  mats,  and  go  through  their  barbarous  pantomimes.  The 
Indians  themselves,  even  accustomed  as  they  are  to  these  masks,  feel  very  much 
afraid  of  them,  and  a white  man,  viewing  the  scene  for  the  first  time,  can  only  liken 
it  to  a carnival  of  demons. 

Among  the  masquerade  performances  that  I have  seen  was  a representation  of 
mice.  This  was  performed  by  a dozen  or  more  young  men  who  were  entirely 
naked.  Their  bodies,  limbs,  and  faces  were  painted  with  stripes  of  red,  blue,  and 
black;  red  bark  wreaths  were  twisted  around  their  heads,  and  bows  and  arrows  in 
their  hands.  They  made  a squealing  noise,  but  otherwise  they  did  nothing  that 
reminded  me  of  mice  in  the  least.  Another  party  was  composed  of  naked  boys, 
with  bark  fringes,  like  veils,  covering  their  faces,  and  armed  with  sticks  having 
needles  in  one  end;  they  made  a buzzing  noise  and  stuck  the  needles  into  any  of  the 
spectators  who  came  in  their  way.  This  was  a representation  of  hornets.  These 
processions  followed  each  other  at  a,n  interval  of  half  an  hour,  and  each  made  a 
circuit  round  the  lodge,  performed  some  antics,  sang  some  songs,  shouted,  and  left. 
Another  party  then  came  in,  composed  of  men  with  frightful  masks,  bearskins  on 
their  backs,  and  heads  covered  with  down.  They  had  clubs  in  their  hands,  and  as 
they  danced  around  a big  fire  blazing  iii  the  center  of  the  lodge,  they  struck  wildly 
with  them,  caring  little  whom  or  what  they  hit.  One  of  their  number  was  naked, 
with  a rope  round  his  waist,  a knife  in  each  hand,  and  making  a fearful  howling. 
Two  others  had  hold  of  the  end  of  the  rope,  as  if  to  keep  him  from  doing  any  harm. 
This  was  the  most  ferocious  exhibition  I had  seen,  and  the  spectators  got  out  of 
their  reach  as  far  as  they  could.  They  did  no  harm,  however,  excepting  that  one 
with  his  club  knocked  a hole  through  a brass  kettle ; after  which  they  left  and  went 
to  the  other  lodges,  where  I learned  that  they  smashed  boxes  and  did  much  mischief. 
After  they  had  gone,  the  owner  examined  his  kettle,  and  quaintly  remarked  that  it 
was  worth  more  to  him  than  the  pleasure  he  had  experienced  by  their  visit,  and  he 
should  look  to  the  man  who  broke  it  for  remuneration. 

On  a subsequent  evening  I was  present  at  another  performance.  This  consisted  of 
dancing,  jumping,  firing  of  guns,  etc.  A large  fire  was  first  built  in  the  center  of 
the  lodge,  and  the  performers,  with  painted  faces,  and  many  with  masks  resembling 
owls,  wolves,  and  bears,  crouched  down  with  their  arms  clasped  about  their  knees, 
their  blankets  trailing  on  the  ground  and  fastened  around  the  neck  with  a single 
pin.  After  forming  in  a circle  with  their  faces  toward  the  fire,  they  commenced 
jumping  sideways  round  the  blaze,  their  arms  still  about  their  knees.  In  this  man- 
ner they  whirled  around  for  several  minutes,  producing  a most  remarkable  appear- 
ance. These  performers,  who  were  male,  were  succeeded  by  some  thirty  women  with 
blackened  faces,  their  heads  covered  with  down,  and  a girdle  around  their  blankets, 
drawing  them  in  tight  at  the  waist.  These  danced  around  the  fire  with  a shuffling, 
ungainly  gait,  singing  a song  as  loud  as  they  could  scream,  which  was  accompanied 
by  everyone  in  the  lodge,  and  beating  time  with  sticks  on  boards  placed  before  them 
for  the  purpose.  When  the  dance  was  over,  some  five  or  six  men,  with  wreaths  of 
seaweed  around  their  heads,  blackened  faces,  and  bearskins  over  their  shoulders, 
rushed  in  and  fired  a volley  of  musketry  through  the  roof.  One  of  them  then  made  a 
speech,  the  purport  of  which  was  that  the  ceremonies  had  progressed  favorably  thus 
far ; that  their  hearts  had  become  strong,  and  that  they  felt  ready  to  attack  their 


THE  KWAKIUTL  INDIANS. 


641 


enemies  or  to  repel  any  attack  upon  themselves.  Their  guns  having  in  the  mean- 
while been  loaded,  another  volley  was  fired,  and  the  whole  assembly  uttered  a shout 
to  signify  approval.  The  performances  during  the  daytime  consisted  of  repre- 
sentations on  the  beach  of  various  kinds.  There  was  one  representing  a whaling 
scene.  An  Indian  on  all  fours,  covered  with  a bearskin,  imitated  the  motion  of  a 
whale  while  blowing.  He  was  followed  by  a party  of  eight  men  armed  with  har- 
poons and  lances,  and  carrying  all  the  implements  of  whaling.  Two  boys,  naked, 
with  bodies  rubbed  over  with  flour,  and  white  cloths  around  their  heads,  represented 
cold  weather;  others  represented  cranes  moving  slowly  at  the  water’s  edge  and 
occasionally  dipping  their  heads  down  as  if  seizing  a fish.  They  wore  masks  resem- 
bling a bird’s  beak,  and  bunches  of  eagles’  feathers  stuck  in  their  hair.  During  all  of 
these  scenes  the  spectators  kept  up  a continual  singing  and  drumming.  Every  day 
during  these  performances  feasts  were  given  at  different  lodges  to  those  Indians  who 
had  come  from  the  other  villages,  at  which  great  quantities  of  food  were  eaten  and 
many  cords  of  wood  burned,  the  giver  of  the  feast  b'eing  very  prodigal  of  his  winter’s 
supply  of  food  and  fuel.  The  latter,  however,  is  procured  quite  easily  from  the  for- 
est, and  only  causes  a little  extra  labor’to  obtain  a sufficiency. 

The  final  exhibition  of  the  ceremonies  was  the  T’hlukloots  representation,  after 
which  the  presents  were  distributed.  From  daylight  in  the  morning  till  about  11 
o’clock  in  the  forenoon  was  occupied  by  indoor  performances,  consisting  of  singing 
and  drumming,  and  occasional  speeches.  When  these  were  over,  some  twenty  per- 
formers, dressed  up  in  masks  and  feathers,  some  with  naked  bodies,  others  covered 
with  bearskins,  and  accompanied  by  the  whole  assembly,  went  down  on  the  beach 
and  danced  and  howled  in  the  most  frightful  manner.  After  making  as  much  uproar 
as  they  could,  they  returned  to  the  lodge,  and  shortly  after  every  one  mounted  on 
the  roofs  of  tho  houses  to  see  the  performance  of  the  T’hlukloots.  First,  a young 
girl  came  out  upon  the  roof  of  a lodge,  wearing  a mask  representing  the  head  of  the 
thunderbird,  which  was  surmounted  by  a topknot  of  cedar  bark  dyed  red  and  stuck 
full  of  white  feathers  from  eagles’  tails.  Over  her  shoulders  she  wore  a red  blanket 
covered  with  a profusion  of  white  buttons,  brass  thimbles,  and  blue  beads ; her  hair 
hung  down  her  back,  covered  with  white  down.  The  upper  half  of  her  face  was 
painted  black,  and  the  lower  red.  Another  girl,  writh  a similar  headdress,  was  naked 
except  a skirt  about  her  hips.  Her  arms  and  legs  had  rings  of  blue  beads,  and  she 
wore  bracelets  of  brass  wire  around  her  wrists ; her  face  being  painted  like  the 
other.  A smaller  girl  had  a black  mask  to  resemble  the  ha-he'k-to-ak.  The  masks  did 
not  cover  the  face,  but  were  on  the  forehead,  from  which  they  projected  like  horns. 
The  last  girl’s  face  was  also  painted  black  and  red.  From  her  ears  hung  large  orna- 
ments made  of  the  haikwa  or  dentalium,  and  blue  and  red  beads,  and  around  her  neck 
was  an  immense  necklace  of  blue  beads.  Her  skirt  was  also  covered  with  strings  of 
beads,  giving  her  quite  a picturesque  appearance.  A little  boy,  with  a black  mask 
and  headband  of  red  bark,  the  ends  of  which  hung  down  over  his  shoulders,  and 
eagles’  feathers  in  a topknot,  was  the  remaining  performer.  They  moved  around  m 
a slow  and  stately  manner,  occasionally  spreading  out  their  arms  to  represent  flying, 
and  uttering  a sound  to  imitate  thunder,  but  which  resembled  the  noi3e  made  by 
the  nighthawk  when  swooping  for  its  prey,  the  spectators  meanwhile  beating  drums, 
pounding  the  roofs  with  sticks,  and  rattling  with  shells.  This  show  lasted  half  an 
hour,  when  all  again  went  into  the  lodge  to  witness  the  distribution  of  presents  and 
the  grand  finale.  The  company  all  being  arranged,  the  performers  at  one  end  of  the 
lodge  and  the  women,  children,  and  spectators  at  the  other,  they  commenced  by 
putting  out  the  fires  and  removing  the  brands  and  cinders.  A quantity  of  feathers 
were  strewed  over  the  ground  floor  of  the  lodge,  and  a dance  and  song  commenced, 
every  one  joining  in  the  latter,  each  seeming  to  try  to  make  as  much  noise  as  possible. 
A large  box,  suspended  by  a rope  from  the  roof,  served  as  a bass  drum,  and  other 
drums  were  improvised  from  the  brass  and  sheet-iron  kettles  and  tin  pans  belonging 
to  the  domestic  furniture  of  the  house,  while  those  who  had  no  kettles,  pans,  or 
boxes  banged  with  their  clubs  on  the  roof  and  sides  of  the  house  till  the  noise  was 
NAT  MUS  95 41 


642 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


almost  deafening.  In  this  uproar  there  was  a pause;  then  the  din  commenced  anew. 
This  time  the  dancers  brought  out  blankets,  and  with  them  beat  the  feathers  on  the 
door  till  the  whole  air  was  filled  with  down,  like  flakes  of  snow  during  a heavy 
winter’s  storm.  Another  lull  succeeded,  then  another  dance,  and  another  shaking 
up  of  feathers,  till  I was  half  choked  with  dust  and  down.  Next  the  presents  were 
distributed,  consisting  of  blankets,  guns,  shirts,  beads,  and  a variety  of  trinkets, 
and  the  whole  affair  wound  up  with  a feast. 

I presume  the  following  custom  belongs  here  as  well.  When  the 
incantations  and  practices  of  the  shaman  are  of  no  avail,  the  patient  is 
initiated  in  a secret  society  called  tsa'yeq.  Evidently  this  name  is 
derived  from  the  Kwakiutl  word  ts’a/eqa,  thus  suggesting  that  this  cere- 
mony also  was  borrowed  from  the  win- 
ter ceremonial  of  the  Kwakiutl.  I 
obtained  the  following  description  of 
these  ceremonies : The  members  of  the 
tsa'yeq  assemble  and  make  a circuit 
through  the  whole  village,  walking  in 
Indian  file  and  in  a circle,  so  that  their 
left  hand  is  on  the  inner  side  (oppo- 
site the  hands  of  a clock).  Kobody  is 
allowed  to  laugh  while  they  are  mak- 
ing their  circuit.  The  tsa'yeq  .of  the 
Hopetcisa'th  and  Ts’eca'ath  sing  as 
follows  during  this  circuit : 

Ha,  hii,  ba/,  be  is  not  a shaman.1 

When  dancing,  they  hold  the  first 
fingers  of  both  hands  up,  trembling 
violently.  They  enter  all  houses  and 
take  the  patients  and  all  the  other  peo- 
ple who  desire  to  become  members  of 
the  tsa'yeq  along,  two  members  of  the 
society  taking  each  novice  between 
them  and  holding  him  by  his  hair, 
while  they  continue  to  shake  their  free 
hands.  The  novice  must  incline  his 
head  forward  and  shake  it  while  the 
society  are  continuing  their  circuit.  Thus  they  go  from  house  to  house, 
and  all  those  who  desire  to  become  members  of  the  society  join  the 
procession.  The  circuit  finished,  they  assemble  in  a house  in  which 
during  the  following  days  none  but  members  of  the  tsa'yeq  are 
allowed.  They  sing  and  dance  for  four  days.  After  these  days  the 
novice  obtains  his  cedar  bark  ornament  (fig.  199  and  Plate  51).  Small 
carvings  representing  the  crest  of  his  sept  are  attached  to  the  front 
part  of  the  head  ring.  The  dress  of  the  ucta/qyu,  the  shaman,  who  is 
the  most  important  member  of  the  society,  is  larger  than  that  of  the 
other  members. 


rig.  199. 

HEAD  RING  OF  THE  TSA'YEQ. 
Neeah  Bay. 


Cat.  No.  4776,  U.  S.  N.  M.  Collected  by  J.  G.  Swan. 


Appendix,  page  733. 


Report  of  U.  S.  National  Museum,  1895. — Boas. 


Plate  51 . 


Head  Ring  of  the  Tsa'yeq,  Alberni. 

Museum  of  the  Geological  Survey  of  Canada,  Ottawa.  Collected  by  F.  Boas. 


THE  KWAKIUTL  INDIANS. 


643 


Swan 1 lias  described  the  ceremony  as  follows : 

The  other  performance  is  termed  Tsiahk,  and  is  a medicine  performance,  quite  as 
interesting,  hut  not  as  savage  in  its  detail.  It  is  only  occasionally  performed,  when 
some  person,  either  a chief  or  a member  of  his  family,  is  sick.  The  Makahs  believe 
in  the  existence  of  a supernatural  being,  who  is  represented  to  be  an  Indian  of  a 
dwarfish  size,  with  long  hair  of  a yellowish  color  flowing  down  his  back  and  cover- 
ing his  shoulders.  From  his  head  grow  four  perpendicular  horns,  two  at  the  temple 
and  two  back  of  the  ears.  When  people  are  sick  of  any  chronic  complaint  and  much 
debilitated,  they  imagine  they  see  this  being  in  the  night,  who  promises  relief  if  the 
ceremonies  he  prescribes  are  well  performed.  The  principal  performer  is  a doctor, 
whose  duties  are  to  manipulate  the  patient,  who  is  first  initiated  by  secret  rites  into 
the  mysteries  of  the  ceremony.  What  these  secret  rites  consist  of  I have  not  ascer- 
tained, but  there  is  a continual  singing  and  drumming  during  the  day  and  evening 
for  three  days  before  spectators  are  admitted.  From  the  haggard  and  feeble  appear- 
ance of  some  patients  I have  seen,  I judge  the  ordeal  must  have  been  severe.  The 
peculiarity  of  this  ceremony  consists  in  the  dress  worn  alike  by  patients,  novitiates, 
and  performers.  Both  men  and  women  assist,  but  the  proportion  of  females  is  greater 
than  of  males.  On  the  head  of  the  female  performer  is  worn  a sort  of  coronet  made 
of  bark,  surmounted  by  four  upright  bunches  or  little  pillars  made  of  bark  wound 
round  with  the  same  material,  and  sometimes  threads  from  red  blankets,  to  give  a 
variety  of  color.  From  the  top  of  each  of  the  four  pillars,  which  represent  the  horns 
of  the  tsiahk,  are  bunches  of  eagles’  quills,  which  have  been  notched  and  one  side 
of  the  feather  edge  stripped  off.  In  front  is  a band. which  is  variously  decorated, 
according  to  the  taste  of  the  wearer,  with  beads,  brass  buttons,  or  any  trinkets  they 
may  have.  From  each  side  of  this  band  project  bunches  of  quills  similar  to  those 
on  the  top  of  the  head.  The  long  hair  of  the  tsiahk  is  represented  by  a heavy  and  thick 
fringe  of  bark,  which  covers  the  back  and  shoulders  to  the  elbow.  Necklaces  com- 
posed of  a great  many  strings  of  beads  of  all  sizes  and  colors,  and  strung  in  various 
forms,  are  also  worn,  and  serve  to  add  to  the  effect  of  the  costume.  The  paint  for  the 
face  is  red  for  the  forehead  and  for  the  lower  part,  from  the  root  of  the  nose  to  the  ears ; 
the  portion  between  the  forehead  and  the  lower  part  is  black,  with  two  or  three  red 
marks  on  each  cheek.  The  dress  of  the  novitiate  females  is  similar,  with  the  excep- 
tion of  there  being  no  feathers,  or  ornaments  on  the  bark  headdress,  and  with  the 
addition  of  black  or  blue  stripes  on  the  red  paint  covering  the  forehead  and  lower 
portion  of  the  face.  The  headdress  of  the  men  consists  of  a circular  band  of  bark 
and  colored  worsted,  from  the  back  part  of  which  are  two  bunches  of  bark,  like 
horses’  tails.  Two  upright  sticks  are  fastened  to  the  band  behind  the  ears,  and 
on  top  of  these  sticks  are  two  white  feathers  tipped  with  red;  the  quill  portion  is 
inserted  into  a piece  of  elder  stick  with  the  pith  extracted  and  then  put  on  the  band 
sticks.  These  sockets  give  the  feathers  the  charm  of  vibrating  as  the  wearer  moves 
his  head;  when  dancing  or  moving  in  procession,  the  hands  are  raised  as  high  as  the 
face  and  the  fingers  spread  out. 

The  doctor  or  principal  performer  has  on  his  head  a dress  of  plain  bark  similar  to 
the  female  novitiate.  He  is  naked  except  a piece  of  blanket  about  his  loins,  and 
his  body  is  covered  with  stripes  of  red  paint.  The  outdoor  performance  consists  of 
a procession  which  moves  from  the  lodge  to  the  beach;  the  principal  actor  or  con- 
ductor being  at  the  head,  followed  by  all  the  males  in  single  file,  the  last  one  being 
the  doctor.  Immediately  behind  the  doctor  the  patient  follows,  supported  on  each 
side  by  a female  assistant.  The  females  close  up  the  procession.  All  parties,  male 
and  female,  have  their  hands  raised  as  high  as  their  faces,  and  the  motion  of  the 
procession  is  a sort  of  shuffling  dance.  They  move  in  a circle  which  gradually  closes 
around  the  patient,  who,  with  the  novitiate,  is  left  seated  on  the  ground  in  the  cen- 
tre; songs  with  choruses  by  the  whole  of  the  spectators,  drumming,  shaking  rattles, 
and  firing  of  guns  wind  up  the  performance,  and  all  retire  to  the  lodge,  where 


1 “The  Indians  of  Cape  Flattery,”  page  73. 


644 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


dancing  and  singing  are  kept  up  for  several  days.  Finally,  presents  are  distributed, 
a feast  is  held,  and  the  friends  retire.  The  patient  and  novitiates  are  obliged  to 
wear  their  dress  for  one  month.  It  consists  of  the  bark  headdress,  having  instead 
of  feathers,  two  thin  strips  of  wood,  feather-shaped,  but  differently  painted.  Those 
of  the  patient  are  red  at  each  end  and  white  in  the  center,  with  narrow  transverse 
bars  of  blue.  Those  of  the  novitiate  have  blue  ends  and  the  center  unpainted. 
The  patient’s  face  is  painted  red,  with  perpendicular  marks  of  blue  on  the  forehead 
and  the  lower  part  of  the  face.  The  novitiate’s  forehead  and  lower  portion  of  face 
is  painted  with  alternate  stripes  of  red  and  blue,  the  remainder  of  the  face  blue;  the 
head  band  is  also  wound  with  blue  yarn  and  yellow  bark.  The  head  band  of  the 
patient  is  wound  with  red.  The  tails  of  bark  of  both  headdresses  are  dyed  red.  The 
patient  carries  in  his  hand  a staff  which  can  be  used  as  a support  while  walking ; this 
has  red  bark  tied  at  each  end  and  around  the  middle. 

The  Dukwally  and  Tsiahk  are  the  performances  more  frequently  exhibited  among 
the  Makahs  than  any  others,  although  they  have  several  different  ones.  The  ancient 
tama'nawas  is  termed  Do-t’hlub  or  Do-t’hlum,1  and  was  formerly  the  favorite  one. 
But  after  they  had  learned  the  T’hulkoots,  or  Thunder  bird,  they  laid  aside  the 
Do-t’hlub,  as  its  performance,  from  the  great  number  of  ceremonies,  was  attended 
with  too  much  trouble  and  expense.  The  origin  of  the  Do-t’hlub  was,  as  stated  to 
me  by  the  Indians,  in  this  manner:  Many  years  ago  an  Indian,  while  fishing  in  deep 
water  for  codfish,  hauled  up  on  his  hook  an  immense  haliotis  shell.  He  had  scarcely 
got  it  into  his  canoe  when  he  fell  into  a trance,  which  lasted  a few  minutes,  and  on 
his  recovery  he  commenced  paddling  home,  but  before  reaching  land  he  had  several 
of  these  trances,  and  on  reaching  the  shore  his  friends  took  him  up  for  dead,  and 
carried  him  into  his  house,  where  he  presently  recovered,  and  stated  that  while  in 
the  state  of  stupor  he  had  a vision  of  Do-t’hlub,  one  of  their  mythological  beings, 
and  that  he  must  be  dressed  as  Do-t’hlub  was  and  then  he  would  have  revelations. 
He  described  the  appearance,  as  he  saw  it  in  his  vision,  in  which  Do-t’hhib  pre- 
sented himself  with  hands  like  deer’s  feet.  He  was  naked  to  his  hips,  around  which 
was  a petticoat  of  cedar  bark  dyed  red,  which  reached  to  his  knees.  His  body  and 
arms  were  red ; his  face  painted  red  and  black ; his  hair  tied  up  in  bunches  with 
cedar  twigs,  and  cedar  twigs  reaching  down  his  back.  When  his  friends  had  dressed 
him  according  to  his  direction,  he  fell  into  another  trance,  in  which  he  saw  the 
dances  which  were  to  be  performed,  heard  the  songs  which  were  to  be  sung,  and 
learned  all  the  secret  ceremonies  to  be  observed.  It  was  also  revealed  that  each 
performer  must  have  a piece  of  the  haliotis  shell  in  his  nose,  and  pieces  in  his  ears. 
He  taught  the  rites  to  certain  of  his  friends,  and  then  performed  before  the  tribe, 
who  were  so  well  pleased  that  they  adopted  the  ceremony  as  their  tama’nawas,  and 
retained  its  observance  for  many  years,  till  it  was  superseded  by  the  Dukwally. 
The  haliotis  shell  worn  by  the  Makahs  in  their  noses  is  a custom  originating  from 
the  Do-t’hlub.  Other  ceremonies  are  occasionally  gone  through  with,  but  the 
description  above  given  will  serve  to  illustrate  all  those  observed  by  the  Makahs. 
Different  tribes  have  some  peculiar  to  themselves,  the  general  character  of  which  is, 
however,  the  same.  It  will  be  seen  that  the  public  part  of  these  performances  are 
rather  in  the  nature  of  amusements  akin  to  our  theatrical  pantomimes  than  of 
religious  observances,  though  they  are  religiously  observed. 

THE  LKU'NGEN. 

My  information  on  the  ceremonials  of  the  Coast  Salish  is  very  mea- 
ger. I obtained  the  following  information  from  the  Lku'hgEn,  the 
tribe  which  occupies  the  territory  near  Victoria,  British  Columbia. 
They  have  two  secret  societies,  the  tcyiyl'wan  and  the  xEnxanl'tEl 
(dog  howlers). 

1 This  is  clearly  the  Kwakiutl  word  no'nLEm. 


THE  KWAKIUTL  INDIANS. 


645 


Any  member  of  the  tribe  may  join  the  tcyiyl'wan.  When  desiring 
to  do  so,  he  retires  into  the  woods  and  stays  there  for  some  time,  bath- 
ing in  ponds  and  washing  his  body  with  cedar  branches.  The  intend- 
ing novice  is  called  xausa/lokuL.  Finally  he  dreams  of  the  dance 
which  he  will  perform  and  the  song  which  he  will  sing.  In  his  dream 
his  soul  is  led  all  over  the  world  by  the  spirit  who  gives  him  his  dance 
and  his  song.  Then  he  returns  to  the  village.  According  to  what  he 
has  dreamed,  he  belongs  to  one  of  five  societies  which  constitute  the 
tcyiyl'wan:  (1)  The  sqe'iep,  who  dance  with  elbows  pressed  close  to 
the  body,  the  arms  extended  forward  and  moving  up  and  down  5 (2) 
the  nuxsoa/weqa,  who  jump  about  in  wild  movements  $ (3)  the  sqa/qoaL, 
who  dance  in  slow  movements $ (4)  the  sqoie'lec,  whose  dance  is  said  to 
be  similar  to  that  of  the  sqe'iep,  and  (5)  the  tcilqtE'hEn  (derived  from 
tca'loq  woods).  The  general  name  of  the  dances  of  the  tcyiyiVan  is 
me'iLa,  which  word  is  borrowed  from  the  Kwakiutl.  When  the  novice 
returns  from  the  woods,  he  teaches  for  two  days  his  song  to  the  mem- 
bers of  the  society  to  which  he  is  to  belong.  Then  the  dance  is  per- 
formed and  henceforth  he  is  a regular  member  of  the  society. 

The  xEnxanktEl,  the  second  society,  are  also  called  Lo'koala  and 
no'nLEm,  although  the  first  name  is  the  proper  Lku'hgEn  term.  The 
Lku'hgEn  state  that  they  obtained  the  secrets  of  this  society  from  the 
Kootka,  and  this  is  undoubtedly  true.  It  appears  that  the  secrets  of 
these  societies  spread  from  the  Xootka  to  the  Lku'ngEn,  Clallam,  and 
the  tribes  of  Puget  Sound.  The  Tc’a/tELp,  a sept  of  the  Sanitch  tribe, 
also  have  the  no'nLEm,  while  the  Snanai'muX,  the  Cowichan,  and  the 
tribes  of  Fraser  River  have  hardly  a trace  of  it.  The  Comox  and  Pent- 
latch  obtained  it  through  intermarriage  with  both  the  Kwakiutl  and  the 
Xootka. 

The  right  to  perform  the  no^LEm  is  jealously  guarded  by  all  tribes 
who  possess  it,  and  many  a war  has  been  waged  against  tribes  who 
illegitimately  performed  the  ceremonies  of  the  society.  Its  mysteries 
were  kept  a profound  secret,  and  if  a man  dared  to  speak  about  it  he 
was  torn  to  pieces  by  the  quqqWlEfi,  about  whom  I shall  speak  pres- 
ently. Only  rich  people  can  become  members  of  the  xEnxanl'tEl,  as 
heavy  payments  are  exacted  at  the  initiation.  If  the  father  of  the 
novice  is  not  able  to  pay  them,  his  relatives  must  contribute  to  the 
amount  required.  The  initiation  and  the  festivals  of  this  society 
take  place  in  winter  only.  When  a young  man  is  to  be  initiated,  his 
father  first  invites  the  xEnxanktEl  to  a feast,  which  lasts  five  days. 
During  these  days  mask  dances  are  performed,  which  those  who  are  not 
members  of  the  society  are  also  permitted  to  witness.  They  occupy 
one  side  of  the  house  in  which  the  festivities  take  place,  while  the 
xEnxanktEl  occupy  the  other.  The  latter  wear  head  ornaments  of  cedar 
bark  and  have  their  hair  strewn  with  down.  The  faces  of  all  those 
who  take  part  in  the  festival  are  blackened.  At  the  end  of  three  days 
the  father  of  the  novice  invites  four  men  to  bathe  his  son  in  the  sea. 


646 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


One  of  them  must  wash  his  body,  one  must  wash  his  head,  and  the 
two  others  hold  him.  In  return  they  receive  one  or  two  blankets  eacb. 
During  this  ceremony  the  quqq’e'lEn,  who  are  described  as  wild  men, 
dance  around  the  novice.  They  have  ropes  tied  around  their  waists, 
and  are  held  by  other  members  of  the  society  by  these  ropes.  Then 
the  xEnxanl'tEl  lead  the  novice  into  the  woods,  where  he  remains  for  a 
long  time,  until  he  meets  the  spirit  that  initiates  him.  It  seems  that 
during  this  time  he  is  secretly  led  to  the  house  in  which  the  xEnxanPtEl 
continue  to  celebrate  festivals  at  the  expense  of  the  novice’s  father, 
and  there  he  is  taught  the  secrets  of  the  society.  During  this  time, 
until  the  return  of  the  novice  from  the  woods,  the  house  is  tabooed. 
A watchman  is  stationed  at  the  entrance,  who  keeps  out  uninitiated 
persons.  During  the  absence  of  the  novice,  his  mother  prepares  cedar 
bark  ornaments  and  weaves  mountain  goat  blankets  for  his  use.  One 
afternoon  he  returns,  and  then  his  father  gives  a feast  to  let  the  people 
know  that  his  child  has  returned.  The  latter  performs  his  first  dance, 
in  which  he  uses  masks  and  cedar  bark  ornaments.  This  dance  is 
called  iiuxnEa/mEn.  On  this  day  the  father  must  distribute  a great 
number  of  blankets  among  the  xEnxanftEl.  The  initiated  are  per- 
mitted to  take  part  in  the  feast,  and  sit  on  one  side  of  the  house.  The 
new  member  spends  all  his  nights  in  the  woods,  where  he  bathes.  In 
the  spring  the  new  member,  if  a man,  is  thrown  into  the  sea,  and  after 
that  is  free  from  all  regulations  attending  the  initiation.  One  of  the 
principal  regulations  regarding  novices  of  the  xEnxani'tEl  is  that  they 
must  return  from  the  woods  in  the  direction  in  which  the  sun  is  mov- 
ing, starting  so  that  the  sun  is  at  their  backs.  Therefore  they  must 
sometimes  go  in  roundabout  ways.  They  must  go  backward  through 
doors,  which  are  sLa/lEqam  (supernatural)  against  them.  Frequently 
the  sio'ua  (a  female  shaman)  is  called  to  bespeak  the  door  in  their 
behalf  before  they  pass  through  it.  Before  their  dance  the  sio'ua  must 
also  address  the  earth,  as  it  is  supposed  that  else  it  might  open  and 
swallow  up  the  dancer.  It  is  also  SLa/lEqam  against  the  novice.  The 
expression  used  is  that  the  earth  would  “open  its  eyes”  (k’u'nalasEn) ; 
that  means,  swallow  the  novice.  In  order  to  avert  this  danger,  the 
sio'ua  must  “ give  a name  to  the  earth,”  and  strew  red  paint  and  feathers 
over  the  place  where  the  novice  is  to  dance. 

THE  BhLXULA. 

The  social  organization,  festivals,  and  secret  societies  of  the  Bi'lxula 
are  still  more  closely  interrelated  than  they  are  among  the  Kwakiutl, 
and  must  be  considered  in  connection.  We  have  to  describe  here  the 
potlatch,  the  sisau'k*,  and  the  ku'siut.  The  sisau'k-  corresponds  to 
the  Lao'laxa  of  the  northern  Kwakiutl  tribes,  the  ku'siut  to  the 
ts’e'ts’aeqa.  The  Bi'lxula  believe  that  the  potlatch  has  been  insti- 
tuted by  ten  deities,  nine  brothers  and  one  sister,  the  foremost  among 
whom  is  Xe'mtsioa,  to  whose  care  the  sunrise  is  intrusted.  He  resides 
with  the  others  in  a beautiful  house  in  the  far  east,  and  cries  “o,  o,” 


THE  KWAKIUTL  INDIANS. 


647 


every  morning  when  the  sun  rises.  He  takes  care  that  he  rises  prop- 
erly. The  first  six  of  these  deities  are  grouped  in  pairs,  and  are 
believed  to  paint  their  faces  with  designs  representing  moon,  stars, 
and  rainbow.  In  the  kti'siut  these  deities  make  their  appearance,  and 
are  represented  by  masks.  Xehntsioa  and  Xemxemala/oLa  wear  the 
design  of  the  full  moon,  indicated  on  the  mask  of  Xe'mtsioa  by  a 
double  curved  line  in  red  and  black,  the  black  outside,  passing  over 
forehead,  cheeks,  and  upper  lip.  Xemxemala/oLa  has  a double  curved 
line  in  red  and  black,  the  red  outside,  which  passes  over  forehead, 
cheeks,  and  chin.  Aiumklffik-a  and  Aiumala/oLa  wear  the  design  of 
the  crescent,  drawn  in  red  and  black,  with  differences  similar  to  those 
between  the  first  and  second  masks.  The  fifth  Q’omq’omkklik-a  and 
Q’o'intsloa  have  designs  representing  stars,  both  wearing  the  same 
style  of  mask.  The  seventh  is  Qula'xawa,  whose  face  represents  the 
blossom  of  a salmon-berry  bush.  The  next  in  order,  Kuleffias  (who 
wants  to  have  blankets  first),  wears  the  design  of  the  rainbow  in 
black  and  blue.  The  ninth,  At’ama/k,  wears  on  the  head  a mask  repre- 
senting a kingfisher,  and  is  clothed  in  a bird-skin  blanket.  The  last 
of  the  series  is  a woman  called  L’etsa/apleLana  (the  eater),  the  sister  of 
the  others.  Her  face  is  painted  with  the  design  of  a bladder  filled  with 
grease.  She  figures  in  several  legends  as  stealing  provisions  and  pur- 
sued by  the  people  whom  she  has  robbed. 

The  sisau'k-,  which  is  danced  at  potlatches  and  other  festivals  of 
the  clans,  is  presided  over  by  a being  that  lives  in  the  sun.  A man  who 
had  gone  out  hunting  met  the  sisau'k*  and  was  instructed  by  him  in  the 
secrets  of  the  dance.  When  he  returned,  he  asked  the  people  to  clean 
their  houses  and  to  strew  them  with  clean  sand  before  he  consented  to 
enter.  Then  he  danced  the  sisau'k-  and  told  the  people  what  he  had 
seen.  He  said  that  the  being  had  commanded  them  to  perform  this 
dance  and  to  adorn  themselves  when  dancing  with  carved  headdresses 
with  trails  of  ermine  skins,  and  to  swing  carved  rattles.  The  man, 
later  on,  returned  to  the  sun.  Ever  since  that  time  the  Bi'lxula  dance 
the  sisau/k*.  Besides  this,  it  is  stated  that  the  raven  gave  each  clan  its 
secrets.  Each  clan  has  its  peculiar  carvings,  which  are  used  in  the 
sisau'k*  only,  and  are  otherwise  kept  a profound  secret,  i.  e.,  they  are 
the  sacred  possessions  of  each  clan.  All  clans,  however,  wear  the  beau- 
tiful carved  headdresses  and  use  the  raven  rattles,  regardless  of  the 
carving  they  represent.  Every  time  the  sacred  objects  of  a clan  are 
shown  to  the  people  a potlatch  is  given.  The  sacred  objects,  although 
the  property  of  the  various  clans,  must  nevertheless  be  acquired  by 
each  individual — that  is  to  say,  every  free  person  has  the  right  to 
acquire  a certain  group  of  carvings  and  names,  according  to  the  clan 
to  which  he  or  she  belongs.  Slaves  and  slaves’  children,  also  illegiti- 
mate children,  can  not  become  sisau'k-.  A person  can  not  take  a 
new  carving,  but  must  wait  until  it  is  given  to  him  by  his  relatives — 
father,  mother,  or  elder  brother.  Nusk’Elu'sta,  the  Indian,  to  whom  I 


648 


REPORT  OF  NATIONAL  MUSEUM,  i89B. 


owe  my  information  regarding  the  clans,  and  who  is  a member  of  the 
gens  Ialo'stimot  of  the  Talid'mx-,  stated  that  he  had  received  the  raven 
when  he  gave  his  first  potlatch.  At  his  second  potlatch  he  received 
the  eagle.  He  hoped  that  his  mother  would  give  him  the  whale  at  his 
next  potlatch,  and  would  at  the  same  time  divulge  to  him  the  secrets  con- 
nected with  it.  In  course  of  time,  he  said,  he  might  get  even  others 
from  his  brother  ; but  if  the  latter’s  children  should  prove  to  be  very 
good,  and  develop  very  rapidly,  his  brother  would  probably  give  his 
secrets  to  his  own  children.  At  festivals,  when  a person  acquires  a new 
secret,  he  changes  his  name.  Each  person  has  two  names,  a ku'siut 
name,  which  remains  through  life,  and  a Xe'intsioa  name,  which  is 
changed  at  these  festivals.  Thus,  Nusk’Elu'sta’s  (which  is  his  ku'siut 
name)  Xe'mtsioa  name  was  AL’iLEmnE'lus’aix-,  but  at  his  next  pot- 
latch he  intended  to  take  the  name  of  Kalia/kis.  These  names  are 
also  the  property  of  the  various  clans,  each  clan  having  its  own  names. 
When  a man  possesses  several  sisau'k-  secrets,  he  will  distribute  them 
among  his  children.  When  a girl  marries,  her  father  or  mother  may, 
after  a child  has  been  born  to  her,  give  one  or  several  of  their  sisau'k- 
secrets  to  her  husband,  as  his  children  make  him  a member  of  her  clan. 
When  a person  grows  old,  he  gives  away  all  his  sisau'k-  secrets.  After 
any  secret  has  been  given  away  the  giver  must  not  use  it  any  more. 
The  crest  and  the  sisau'k-  carvings  must  not  be  loaned  to  others, 
but  each  person  must  keep  his  own  carvings.  The  only  exceptions  are 
the  carved  headdresses  and  the  raven  rattles,  which  are  not  the 
property  of  any  particular  clan. 

The  laws  regarding  the  potlatch  are  similar  to  those  of  the  Kwakiutl. 
The  receiver  of  a present  becomes  the  debtor  of  the  person  who  gave 
the  potlatch.  If  the  latter  should  die,  the  debts  become  due  to  his 
heirs.  If  the  debtor  should  die,  his  heirs  become  responsible  for  the 
debt.  Property  is  also  destroyed  at  potlatches.  This  is  not  returned, 
and  serves  only  to  enhance  the  social  position  of  the  individual  who 
performed  this  act.  It  is  not  necessary  that  all  the  property  given  by 
a person  in  a potlatch  should  be  owned  by  him.  He  may  borrow  part 
of  it  from  his  friends,  and  has  to  repay  it  with  interest.  I was  told, 
for  instance,  that  a man  borrowed  a large  copper  plate  and  burnt  it  at  a 
potlatch.  When  doing  so,  he  had  to  name  the  price  which  he  was  going 
to  pay  the  owner  in  its  stead.  Since  that  feast  he  died,  and  his  heirs 
are  now  responsible  for  the  amount  named  at  the  potlatch. 

The  ku'siut  is  presided  over  by  a female  spirit,  called  Anaulikuts’- 
ai'x-.  Her  abode  is  a cave  in  the  woods,  which  she  keeps  shut  from 
February  till  October,  remaining  all  the  while  inside.  In  October  she 
opens  the  door  of  her  cave  and  sits  in  front  of  it.  A woman  is  said  to 
have  been  the  first  to  find  her.  Anaulikuts’ai'x-  invited  her  into  her 
cave  and  taught  her  the  secrets  of  the  ku'siut.  She  wore  ornaments 
of  red  cedar  bark  around  her  head,  waist,  and  ankles;  her  face  was 
blackened,  her  hair  strewn  with  eagle  down.  She  commanded  the 


THE  KWAKlUTL  INDIANS. 


649 


woman  to  dance  in  the  same  way  as  she  saw  her  dancing.  The  people 
should  accompany  her  dance  with  songs,  and,  after  she  had  finished, 
they  should  dance  with  masks.  She  said,  “Whenever  a person  sees 
me,  your  people  shall  dance  the  ku'siut.  If  you  do  not  do  so,  I shall 
punish  you  with  death  and  sickness.  In  summer,  while  I am  in  my 
house,  you  must  not  dance  the  kiVsiut.” 

Ever  since  that  time  the  Bi'lxula  dance  the  kii'siut.  When  a man 
has  seen  Anaiilikuts’ai'x-  sitting  in  front  of  her  cave,  he  will  invite  the 
people  to  a ku/siut.  A ring  made  of  red  and  white  cedar  bark  is  hung 
up  in  his  house,  and  the  uninitiated  are  not  allowed  to  enter  it.  Only 
in  the  evening,  when  dances  are  performed,  they  may  look  on,  standing 
close  to  the  door.  As  soon  as  the  dances  are  over,  they  must  retire 
from  the  taboo  house.  Each  ku'siut  lasts  three  days. 

The  various  dances  performed  by  members  of  the  ku/siut  are  also 
property  of  the  clans,  and  the  right  to  perform  them  is  restricted  to 
members  of  the  clan.  They  must  not  be  given  to  a daughter’s  hus- 
band, as  is  the  case  with  the  sisau'k*  dances,  but  belong  to  the  mem- 
bers of  the  clan,  who  have  a right  to  a particular  dance,  but  who  do 
not  own  it.  Permission  to  use  a mask  or  dance  is  obtained  from  the 
owner  by  payments.  The  owner  may  reclaim  the  dance  or  the  borrower 
may  return  it  at  any  time.  Membership  of  the  ku/siut  is  obtained 
through  an  initiation.  At  this  time  the.  novice  is  given  his  ku'siut 
name,  which  is  inherited  by  young  persons  from  their  parents  or  from 
other  relatives.  Thus  a young  man  who  had  the  name  of  Po'po  until 
he  was  about  seventeen  years  old,  obtained  at  his  initiation  the  name 
of  L’ako'oL.  I have  not  reached  a very  clear  understanding  of  the 
details  of  the  initiation ; it  seems  that  the  dance  is  simply  given  to  the 
novice  in  the  same  way  as  the  sisau'k*,  this  initiation  being  connected 
with  a potlatch.  But  still  it  seems  possible  that  he  must  “ dream”  of  the 
dance  which  he  is  to  perform.  Only  the  highest  degrees  of  the  ku'siut 
have  to  pass  through  a religious  ceremony  of  some  importance.  The 
highest  degrees  are  the  Elaxo'La  (the  ha'mats’a  of  the  Kwakiutl),  the 
o'Iex  (the  nu/LmaL  of  the  Kwakiutl),  and  the  da'tia  (the  no'ntsistalaL 
of  the  Kwakiutl).  These  grades  are  also  hereditary.  A ku/siut  novice 
may  acquire  them  at  once  at  his  first  initiation. 

When  the  Elaxo'La  is  initiated,  he  goes  into  the  forest,  where  he 
encounters  his  guardian  spirit.  It  is  believed  that  he  goes  up  to  the 
sun,  and  formerly  he  had  to  take  human  flesh  along  for  food.  The 
chiefs  held  a council  the  night  preceding  the  beginning  of  the  cere- 
monies, and  anyone  who  wanted  to  show  his  liberality  offered  one  of 
his  slaves  to  be  killed  in  order  to  serve  as  food  for  the  Elaxo'La.  The 
offer  was  accepted,  and  a payment  of  from  ten  to  twenty  blankets  was 
made  for  the  slave.  The  latter  was  killed,  and  the  members  of  the 
Elaxo'La  order  devoured  one-half  of  the  body  before  the  departure  of 
the  novice  to  the  woods.  There  the  latter  was  tied  up  and  left  to  fast. 
He  may  stay  there  for  twenty  or  thirty  days  until  the  spirit  appears 


650 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


to  him  and  takes  him  np  to  the  sun,  where  he  is  initiated.  Early  one 
morning  he  returns,  and  is  heard  outside  the  houses.  He  has  lost  all 
his  hair,  which,  it  is  believed,  has  been  torn  out  by  the  strong  breeze 
blowing  in  the  higher  regions.  He  is  quite  naked,  and  bites  everyone 
whom  he  can  lay  hold  of.  If  he  can  not  catch  anyone  he  will  bite  his 
own  arm.  It  is  believed  that  he  has  lost  his  soul,  which  fled  from  the 
body  when  the  spirit  came  to  him.  Therefore  the  shamans  must  try 
for  four  days  to  recapture  his  soul.  The  night  after  they  have  recov- 
ered it  the  Elaxo'La  dances,  clothed  in  a bearskin  and  wearing  a large 
head  ring,  heavy  bracelets  and  auklets,  all  made  of  red  cedar  bark. 
Sometimes  he  appears  wearing  the  mask  of  the  S’a/Lpsta  (fig.  200), 
the  spirit  which  initiated  him.  This  mask  corresponds  exactly  to  that 
of  BaxbakualanuXsI'wae  of  the  Kwakiutl.  Some  Elaxo'La  do  not 

bite  people,  but  merely 
devour  raw  salmon  or 
tear  dogs  to  pieces  and 
devour  them.  Those  who 
bite  people  will  also 
devour  corpses.  The 
Elaxo'Ea  has  to  observe 
a number  of  regulations. 
For  four  years  after  his 
initiation  he  must  not 
gamble.  He  must  stay  away  from  his  wife  for  one 
year,  but  this  period  is  being  reduced  to  one  month. 
For  two  or  three  months  he  must  not  leave  his  house. 

The  o'Iex  (the  laugher)  and  the  da/tia  (the  thrower) 
do  not  go  into  the  woods  to  be  initiated,  but  both 
must  fast  three  days  before  their  first  dance.  The 
o'Iex  u makes  fun  of  everything”  and  scratches  peo- 
ple with  his  nails.  The  da/tia  carries  stones  and 
sticks  and  breaks  household  goods  and  canoes.  If  he 
has  destroyed  some  object  during  the  day,  he  pays  for 
it  at  night  when  he  dances.  The  o'Iex  and  the  da'tia, 
after  they  have  danced,  must  stay  in  their  houses  for  one  month. 

If  a person  transgresses  the  laws  of  the  ku'siut,  for  instance,  when 
the  Elaxo'Ea  gambles,  or  when  a man  performs  a dance  to  which  he 
has  no  right,  also  when  a person  derides  the  ceremonies  or  makes  a 
mistake  in  dancing,  his  punishment  is  death.  The  chiefs  assemble  in 
council  and  the  offender  is  called  before  the  court.  After  his  offense 
has  been  proved,  he  is  asked  whether  he  is  willing  to  suffer  the  penalty 
of  death.  If  he  is  not  willing  and  one  of  his  relatives  is  found  willing 
to  take  the  penalty  on  himself,  the  guilty  party  is  spared  and  the  sub- 
stitute killed  in  his  stead.  The  execution  of  the  judgment  is  intrusted 
to  the  shaman,  who  bewitches  the  condemned  person  by  throwing  dis- 
ease into  him  or  by  poisoning  him  in  some  other  (supernatural?)  way. 
The  object  thrown  by  the  shaman  is  a shell,  bone,  or  finger  nail,  around 


Fig. 200. 

MASK  OF  THE  S’A'LPSTA, 

Bi'lxula. 

Cat.  No.  129509,  U.  S.  N.  M, 
Collected  by  F.  Boas. 


THE  KWAKIUTL  INDIANS. 


651 


the  middle  of  which  objects  a human  hair  is  tied.  If  this  object 
strikes  the  offender,  he  will  fall  sick.  Blood  is  believed  to  collect  in 
his  stomach,  and  if  it  so  happens  that  he  vomits  this  blood,  and  with 
it  the  disease-producing  object,  he  will  recover,  and  is  not  molested 
any  further.  The  masks  (not  the  whistles  and  other  ornaments)  used 
in  the  ku'siut  are  burnt  immediately  at  the  close  of  each  dancing  sea- 
son. Novices  must  wear  a necklace  of  red 
cedar  bark  over  their  blankets  for  a Avhole 
year.  The  masks  used  in  the  dances  repre- 
sent mythical  personages,  and  the  dances  are 
pantomimic  representations  of  myths.  Among 
others,  the  thunder  bird  and  his  servant, 

ALxula/tEnum  (who  wears  a mask  with  red 
and  blue  stripes  over  the  whole  face  from  the 
right-hand  upper  side  to  the  left-hand  lower 
side,  and  carries  a staff  with  red  and  blue 
spiral  lines),  appear  in  the  dances.  Prominent 
masks  are  also  Xe'mtsioa  and  his  brothers 
and  his  sisters;  Masmasala/nix  and  his  fel- 
lows, the  raven  and  the  nusxe'mta,  and  many 
others.1 * 

THE  TSIMSHIAN,  NlSQA7,  HAIDA,  AND 
TLINGTT. 

The  tribes  of  this  group  learned  the  ceremo 
nial  avowedly  from  the  He'iltsuq.  Although 
I have  not  witnessed  any  part  of  their  ceremo- 
nials, the  descriptions  which  I received  bring 
out  with  sufficient  clearness  its  similarities  to 
the  winter  ceremonial  of  the  Kwakiutl.  The 
ceremonials  seem  to  be  almost  identical  among 
all  these  tribes.  It  is  most  complete  among  the 
southwestern  Tsimshian  tribes,  particularly 
the  G-itxa/La,  but  has  been  adopted  by  all  the 
tribes  of  the  coast.  It  is  said  that  it  reached 
the  Haida  not  more  than  a hundred  years  ago. 

I will  tell  here  what  I learned  from  the  Nisqa7.  They  have  six 
societies,  which  rank  in  the  following  order:  The  sEmhalafit,  meiLa7, 
loLE'm,  olala7,  nanesta/t,  lionana'L,  the  last  being  the  highest.  The 
SEmhalaPt  is  really  not  confined  to  the  winter  ceremonial,  but  is 
obtained  when  a person  acquires  the  first  guardian  spirit  of  his  clan 
and  performs  the  ceremony  belonging  to  this  event.  The  tradition  of 
the  origin  of  these  ceremonies  localizes  the  events  at  Bellabella,  and  it 

1 Sec  “ Indianisclie  Sagen  von  der  Norcl-Pacilisclien  Kiiste  Amerikas,”  page  241,  by 

F.  Boas. 


Fig. 201. 

HEADDRESS  OF  OLALA'. 

Haida. 

Cat.  No.  89038,  TJ.  S.  N.  M.  Collected  by 
J.  G.  Swan. 


652 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


is  added  that  the  G’itxa/ua,  after  having  acquired  the  ceremonial  from 
the  He'iltsuq,  transmitted  it  to  the  Nisqa'.  This  report  is  corroborated 
by  linguistic  evidence.  All  the  names  of  the  societies,  with  the  sole 
exception  of  the  first,  are  of  Kwakiutl  derivation.  (meiLa',  teasing; 
IoleTu,  Kwakiutl  nohiLEm;  olala7,  name  of  a Kwakiutl  dance; 

n finest  a/ 1,  Kwakiutl  nbntsista/laL;  honana7, 

dance  of ).  The  cry  of  the  blala', 

ulifip,”  is  also  a Kwakiutl  word  meaning 
eating,  and  is  the  same  as  the  cry  of  the 
hfi/mats?a.  The  original  tradition  mentions 
three  societies  only — the  second,  third,  and 
fourth.  This  shows  that  the  first  one  is  not 
a secret  society,  properly  speaking,  and  that 
the  fifth  and  sixth  are  later  importations. 
The  Nisqa'  state  that  with  the  ceremonies 
came  the  use  of  large  whistles.  I will  give 
the  Msqa'  tradition  of  the  origin  of  the  secret 
societies : 

A Wutsda'  (He'iltsuq),  named  SaSaitlfi/ben 
(a  Msqa'  or  Tsimshian  name),  went  hunting. 
He  saw  a bear,  which  he  pursued.  He  shot 
it  several  times,  but  was  unable  to  kill  it. 
Finally  the  bear 
reached  a steep  cliff, 
which  opened  and  let 
him  in.  When  the 
rock  opened,  the  hunter  heard  the  voices  of  the 
olala'  crying  “hfip,”  and  he  fainted.  Then  his 
soul  was  taken  into  the  house.  In  the  rear  of 
the  house  he  saw  a large  room  partitioned  off. 

The  partition  was  hung  with  red  cedar  bark. 

It  was  the  secret  room  of  the  olala'.  To  the 
right  of  the  door,  on  entering,  was  a secret  room 
for  the  meiLa',  and  to  the  left  of  the  door  one 
for  the  loLE'm.  The  chief,  who  was  sitting  in 
the  rear  of  the  house,  ordered  a fire  to  be  made, 
and  spoke:  u Those  here  are  the  meiLa';  they 
did  not  bring  you  here.  Those  are  the  loLe'm; 
they  eat  dogs ; they  did  not  bring  you  here.  But 
these  are  the  olala' ; they  eat  men;  they  brought 
you  here.  You  shall  imitate  what  they  are 
doing.”  The  chief  had  a heavy  ring  of  red  cedar  bark  around  his  neck, 
a ring  of  the  same  material  on  his  head,  and  wore  a bearskin.  He 
said:  “You  must  use  the  same  ornaments  when  you  return  to  your 
people.”  He  took  a whistle  out  of  his  own  mouth  and  gave  it  to 
Safiaitlfi'bEn.  He  gave  him  his  small  neck  ring  of  cedar  bark,  which 


rig. 202. 

PART  OF  A HEADDRESS  REPRESENT- 
ING THE  OLALA'. 

Haida. 

Cat.  No.  89072,  U.  S.  N.  M.  Collected  by 
J.  G.  Swan. 


Tig. 203. 

PART  OF  A HEADDRESS  REPRE- 
SENTING THE  OLALA'. 

Haida. 

Cat.  No.  89073,  U.  S.  N.  M.  Collected  by 
J.  G.  Swan. 


THE  KWAKIUTL  INDIANS. 


653 


instilled  into  him  the  desire  of  devouring  men  (therefore  it  is  called 
q’atsx  Em  lox-,  cedar  bark  throat),  and  he  gave  him  large  cedar  bark 
rings  and  a small  bearskin,  which  enabled  him  to  fly.  He  told  him : 
“You  shall  kill  men,  yon  shall  eat  them,  and  carry  them  to  my  house.” 
And  he  opened  the  door.  The  singers  sang  and  beat  time,  and  Sagait- 
la/bEn  flew  away.  He  flew  from  town  to  town  over  the  whole  world, 
crying  “hap ” all  the  time.  He  went  from 
the  country  of  the  Wutsda7  to  Skeena 
Eiver,  and  then  to  Nass  Eiver.  Some- 
times he  was  seen  on  high  cliff's.  He 
killed  and  devoured  people  whom  he 
found  in  the  woods. 

After  three  years  he  was  seen  near  the 
village  of  the  G-it’ama/t.  They  attempted 
to  catch  him.  They  killed  dogs  and 
threw  them  into  a hole,  and  a number  of 
shamans  hid  under  a canoe  near  by. 

Soon  he  was  heard  to  approach.  He 
alighted  on  the  top  of  a dry  cedar.  He 
lay  there  on  his  stomach,  and  the  point  of 
the  tree  was  seen  to  penetrate  his  body 
and  to  pierce  it.  But  it  did  not  kill  him. 

When  he  saw  the  dead  dogs,  he  flew 
down,  and  after  he  had  eaten,  the  sha- 
mans rushed  up  to  him,  caught  him,  and 
took  him  up  to  the  house.  They  tried  to 
cure  him,  and  the  people  sang  olala'  songs 
(all  of  which  have  a five-part  rhythm). 

He  tried  to  fly  again,  but  was  unable  to 
get  out  of  the  house.  Finally  he  was 
tamed  and  became  like  other  men.  Then 
the  G-it’ama/t  took  him  back  to  his  friends 
and  received  in  return  many  slaves,  cop- 
pers, and  canoes. 

The  ceremonies  take  place  in  the  month 
called  Eok-s  Em  guna/k  (cold  month,  or 
December). 

In  his  dances  the  olala'  of  all  the  north- 
ern tribes  use  headdresses  which  repre- 
sent a corpse  (figs.  201-204).  The  whistles 
which  are  used  to  imitate  the  cries  of  the 
spirit  are  large  and  give  a deep,  hollow  sound.  They  are  all  carved 
or  painted  with  the  design  of  the  head  of  a corpse,  either  with  hollow 
orbits  or  with  closed  eyes.  Some  of  these  whistles  (figs.  205-207)  are 
attached  to  bellows.  They  are  carried  under  the  arms,  hidden  by  the 
blankets,  and  thus  blown  without  being  seen.  The  rattles  which  are 
carried  by  the  companions  of  the  dancer  show  also  the  same  design. 


Pig.  204. 


WOOD  CARVING  REPRESENTING  THE 
OLALA'. 

Haida. 

:*t.  No.  89039,  U.  S.  N.  M.  Collected  by  J.  G.  Swan. 


654 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


Fig.  205. 

OLALA'  WHISTLE. 

Haida. 

Cat.  No.  89062,  U.  S.  N.  M.  Collected  by 
J.  G.  Swan. 


The  lbLE'm  dance  in  a two-part  rhythm;  their  call  is  a sharp  ah, h;” 
tlieir  movements  sudden  jerks  of  the  forearms,  first  the  left  moving  up 
to  the  shoulder  while  the  right  moves  down, 
and  vice  versa. 

The  meiLa'  dance  in  a three-part  rhythm. 
Their  headdress  is  a heavy  ring  of  red  cedar 
bark,  with  a beaver  tail  standing  np  in  its 
middle.  The  ring  is  studded  with  small  sticks, 
which  represent  arrows  (fig.  208). 

The  nanesta/t  and  honana/L  correspond  to  the 
no'ntsistalaL  of  the  Kwakiutl.  When  the 
members  of  these  societies  are  in  a state  of 
ecstasy,  they  throw  firebrands  about  and  de- 
stroy canoes,  houses,  and  anything  they  can  lay 
their  hands  on.  They  carry  lances/  like  the 
nu/LmaL.  The  rat- 
tles used  by  all  these 
societies  are  round, 
and  correspond  to 
those  of  the  Kwaki- 
utl (figs.  209-213). 

The  insignia  of 
these  societies  are  made  of  cedar  bark  dyed 
red  in  a decoction  of  alder  bark.  For  each 
repetition  of  the  ceremony  a new  ring  is 
added  to  the  head 
ornament  of  the  dan- 
cer. Those  of  the 
loLE/m  and  olala' 
consist  of  rings 
placed  one  on  top 
of  the  other.  The 
meiLa/  receives  first 
a red  ring,  the  second 
time  a white  ring, 
and  so  on,  alternating, 
together. 

There  are  only  a limited  number  of  places  in 
the  societies,  and  a new  member  can  be  admit- 
ted only  when  he  inherits  the  place  of  a deceased 
member,  or  when  a member  transfers  his  place 
to  him.  If  such  a transfer  is  to  take  place,  the 
consent  of  the  chiefs  of  the  clans  must  first  be 
obtained.  Then  one  evening  the  chiefs,  during 
a feast,  surround  the  youth  and  act  as  though  they  had  caught  the 
spirit  of  the  society  in  their  hands  and  throw  it  upon  the  novice.  If 


Fig.  206. 

OLALA'  WHISTLE. 

Haida. 

la  . No.  89158,  U.  S.  N.  M.  Collected  by 
J.  G.  Swan. 

His  rings  are  twisted 


Fig.  207. 

OLALA'  WHISTLE. 

Haida. 

Cat.  No.  89063,  U.  S.  N.  M.  Collected  by 
J.  G.  Swan. 


THE  KWAKIUTL  INDIANS. 


655 


he  is  to  be  a loLE'm,  a noise,  ahdh,  lion/7  is  heard  on  the  roof  of 
the  house,  and  the  youth  faints.  The  Iole'iu  (or  the  members  of  the 
society  in  which  he  is  to  be  initiated)  are  called  to  investigate  why 
the  youth  fainted.  They  enter  singing,  their  heads  covered  with  down. 
They  place  him  on  an  elk  skin,  carry  him  around  the  fire,  then  they 
throw  the  youth  upward  and  show  the  people  that  he  has  vanished. 
After  some  time,  when  the  novice  is  expected  back,  the  people  assem- 
ble in  the  house,  and  all  the  members  of  the  nobility  try  to  bring  him 


Fig.  208. 


HEAD  KING  OF  ME'lLA. 

Tsimshian. 

Diameter  of  ring  8|  inches ; height  of  carving  14  inches. 

IV  A,  No.  1029,  Royal  Ethnographical  Museum,  Berlin.  Collected  by  A.  Jacobsen. 

back  by  the  help  of  their  spirits.  In  order  to  do  this,  they  dance  w th 
the  head  ornaments  of  their  clans,  their  rattles,  dancing  blankets, 
aprons,  and  leggings,  or  they  use  the  head  ornament  representing  two 
bears7  ears,  which  is  made  of  bearskin  set  with  woman’s  hair,  dyed 
red.  This  ornament  is  used  by  all  clans,  or  they  wear  masks  repre- 
senting their  guardian  spirits. 

As  an  example  of  these,  I will  describe  the  spirit  of  sleep,  which 
belongs  to  the  G-ispawaduwE'da.  The  owner  of  this  spirit  appears 
sleeping,  his  face  covered  with  a mask,  the  eyes  of  which  are  shut  (fig. 


656 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


214,  p.  659).  Then  a chief  steps  np  and  tries  to  awaken  him  by  hauling 
the  drowsiness  out  of  him  with  both  his  hands.  Then  the  eyes  of  the 
mask  are  opened  and  roll,  while  the  man  who  wears  the  mask  rises. 
The  chief  who  took  the  drowsiness  out  of  the  sleeper  asks  if  he  shall 
try  to  put  the  people  to  sleep,  and  on  being  asked  to  do  so  he  opens  his 
hands.  The  spirit  is  supposed  to  enter  the  people,  and  all  close  their 
eyes.  After  some  time  he  gathers  the  drowsiness  again,  and  the  people 
awake  and  sing: 

Ob,  bow  sleepy  we  are;  oh,  how  sleepy  we  are, 

When  the  beat  of  the  heaven  strikes  me,  drowsiness  comes  upon  me, 
brought  by  the  husband  of  the  sleep, 

Oh,  how  sleepy  we  are;  oh,  how  sleepy  we  are.1 

In  this  manner  the  spirit  of  sleep  proves  his  presence  and  is  asked  to 
try  to  bring  back  the  novice. 

Figure  215  (p.  660)  shows  another  mask,  which  is 
used  in  a similar  way.  It  represents  the  cold.  The 
staring  eyes,  the  chattering  mouth,  express  the 
extreme  cold  from  which  the  wearer  is  suffering. 

One  dancer  after  another  tries  to  bring  back  the 
novice.  If  he  does  not  return  by  biidnight  of  the 
first  night,  the  ceremony  is  interrupted,  and  con- 
tinued the  following  night.  On  one  occasion  a 
member  of  the  loLE'm  was  the  last  to  try.  He  took 
his  supernatural  helper,  a small,  carved  human 
image,  held  it  up,  and  asked  it  to  bring  back  the 
novice.  Then  he  poured  a spoon  of  grease  into 
the  fire  and  threw  the  carving  after  it.  At  once  the 
whistles  of  the  novice  were  heard  on  the  roof.  All 
the  loLEhn  rushed  out  of  the  house,  but  soon  they 
returned,  saying  that  they  had  seen  him,  but  lost 
him  again.  They  cried,  ue”  (drawn  out  very  long). 
Then  all  the  people  left  the  house. 

After  the  novice  is  lost  in  this  manner,  he  is 
expected  back  on  the  following  day.  Early  in  the 
morning  a killer  whale  or  some  other  animal  is 
seen  on  the  river,  carrying  the  novice  on  its  back.  He  is  crying  “ina, 
ina,  ma,  ma,”  all  the  time,  and  the  people  go  to  see  him.  The  loLE'm 
take  a canoe  and  paddle  singing  toward  the  novice.  When  they  have 
almost  reached  him,  one  of  their  number,  who  stays  ashore  clad  in  a 
bearskin,  drives  all  the  people  into  the  houses.  The  loLE'm  take  the 
novice  into  their  canoe  and  destroy  the  whale  float  which  carried  him, 
and  which  is  manipulated  by  means  of  ropes.  Then  he  runs  up  and 
down  the  street  like  one  wild,  and  the  olala'  follow  him  and  bite  any 
of  the  profane  who  dare  to  leave  the  house.  The  novice  catches  a dog, 
tears  it  to  pieces,  and  eats  it  while  he  is  going  from  house  to  house. 


BEAR. 

Haida. 


Cat.  No.  20875,  U.  S.  N.  M.  Col- 
lected by  J.  G.  Swan. 


1 See  Appendix,  page  733. 


THE  KWAKIUTL  INDIANS. 


657 


When  he  thus  returns,  he  is  entirely  naked.  From  the  time  when 
he  enters  his  house  it  becomes  tabooed.  A rope  hung  with  red  cedar 
bark  is  stretched  from  the  door  of  the  house  to  a pole  erected  on  the 
beach,  preventing  the  people  from  passing  in  front  of  the  house  and 
compelling  them  to  go  behind.  A large  ring  of  red  cedar  bark  is  fas- 
tened to  the  pole  in  front  of  the  house.  These  remain  on  the  house  for 
a day  after  the  return  of  the  novice.  On  the  following  day  four  men 
put  on  bearskins  and  place  rings  of  red  cedar  bark  on  their  heads.  Thus 
attired,  they  go  from  house  to  house  inviting  the  people  to  see  the  dance 
of  the  novice  and  to  learn  his  songs.  When  the  people  have  assembled, 
the  uncle  of  the  novice  spreads  blankets  on  the  floor,  on  which  the 
youth  dances.  Then  his  uncle  pays  the 
chiefs  who  tried  to  bring  him  back,  and 
distributes  blankets  among  the  other  peo- 
ple also.  He  gives  a feast,  in  which  two 
kinds  of  berries  are  served,  each  mixed 
with  grease.  Chiefs  are  given  large  spoons 
filled  with  grease.  Their  people  help  them 
to  eat  the  contents,  as  they  must  not 
leave  any  of  the  food  that  they  receive. 

After  the  ceremony  the  novice  is  called 
Laamg-a't  (a  perfect  man). 

People  who  want  to  become  members  of 
the  olala'  must  have  been  shamans  first. 

The  following  description  of  the  initia- 
tion of  an  olala'  was  given  by  a man  who 
had  gone  through  the  ceremony  himself, 
but  who  is  a Christian  now.  It  is  a question 
to  my  mind  whether  the  ceremonies  at  the 
grave,  about  which  he  told  me,  were  actu- 
ally performed,  or  whether  he  reflected  only 
the  dread  in  which  the  olala'  were  held. 

During  a festival  when  he  was  to  be  in- 
itiated, his  friends  pretended  to  begin  a 
quarrel.  They  drew  knives  and  pretended  to  kill  him.  They  let  him 
disappear,  and  cut  off  the  head  of  a dummy,  which  had  been  skillfully 
introduced.  Then  they  laid  the  body  down,  covered  it,  and  the  women 
began  to  mourn  and  to  wail.  His  relatives  gave  a feast,  distributed 
blankets,  slaves,  canoes,  and  coppers,  and  burnt  the  body.  In  short, 
they  held  a regular  funeral. 

After  his  disappearance,  the  young  man  resorted  to  a grave.  He 
took  the  body  o:it  of  the  grave  and  wrapped  the  blanket  about  himself 
and  the  . body.  Thus  he  lay  with  the  corpse  for  a whole  night.  The 
other  olala'  watched  him  from  a distance.  In  the  morning  he  put  the 
body  back  into  the  grave.  He  continued  to  do  so  for  some  time,  in  order 
to  acquire  courage.  All  this  time  and  for  a whole  year  after  he  was 
not  seen  by  any  member  of  the  tribe  except  by  the  olala'. 

NAT  mus  95- — 42 


Fig.  210. 

RATTLE  WITH  DESIGN  REPRESENTING 
THE  KILLER  WHALE. 

Haida. 

Cat.  No.  20584,  U.  S.  N.  JV1.  Collected  by  J.  G. 
Swan. 


658 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


A year  after  his  disappearance,  his  nephew  invited  all  the  tribes  to 
bring  him  back.  This  was  done  in  the  same  manner  as  described 
above  in  the  case  of  initiation  of  the  Iole'iu.  Finally  his  whistles  were 
heard,  and  he  appeared 
on  the  roof  of  the  house 
crying  “a  lalalalala!” 

He  disappeared  again, 
and  in  the  following 
night,  after  prolonged 
dances,  he  was  seen  on 
the  hills  dancing  in  a 
fire,  which  he  had  built 
in  such  a manner  that 
when  he  danced  behind 
it  he  appeared  from  the 
village  to  be  standing  in 
the  fire.  The  following- 
day  he  appeared,  carried 
by  his  totem  animal. 

The  G-Ispawadu- 
wE'da  are  brought  back 
by  a killer  whale,  as 
described  above ; the 
Laxk'ebo'  by  a bear,  the  Laxskl'yek  on  the  back  of  an  eagle  which  rises 
from  underground,  the  Qanha'da  on  the  back  of  a frog.  Sometimes  the 

novice  appears  on  a point  of  land  some 
distance  from  the  village,  carrying  a 
corpse  in  his  arms.  Then  he  is  said 
to  walk  over  the  surface  of  the  water 
and  to  come  ashore  in  front  of  the  vil- 
lage. This  is  accomplished  by  means 
of  a raft  which  is  covered  with  planks, 
and  burdened  so  that  it  floats  a short 
distance  under  the  surface  of  the  water. 
It  is  pulled  by  means  of  a rope  by  some 
of  the  other  olala'  while  the  novice  is 
dancing  on  it,  so  that  the  impression 
is  conveyed  that  he  is  approaching  on 
the  surface  of  the  water.  When  he 
reaches  the  village,  he  eats  of  the  body 
which  he  is  carrying,  and  one  or  other 
of  the  chiefs  kills  a slave  and  throws 
the  body  to  the  olala',  who  devour  it.  It 
is  said  that  before  eating  human  flesh 
the  olala'  always  use  emetics,  and  that 
afterwards  they  tickle  their  throats 
with  feathers  to  insure  vomiting. 

In  all  feasts  which  take  place  during  the  dancing  season  the  olala' 
receives  his  share  first,  and  nobody  is  allowed  to  eat  until  after  he  has 


Cat.  No.  88791,  U.  S.  N.  M.  Collected  by  J.  G.  Swan. 


Fig.  211. 

RATTLE. 

Haida. 

Cat.  No.  20583,  U.  S.  N.  M.  Collected  by  J.  G.  Swan. 


THE  KWAKIUTL  INDIANS. 


659 


begun.  He  has  a spoon  and  adish  of  bis  own.  These  are  wound  with  red 
cedar  bark.  Those  who  have  formerly  been  dlala'  are  the  servants  of 
the  new  member  of  the  society  and  bring  him  food.  When  he  hears 
the  word  lo'lEk  (ghost),  he  grows  excited  and 
begins  to  bite  again.  After  he  ceases  to  bite 
and  to  devour  human  flesh,  a heavy  ring  of  red 
cedar  bark  is  placed  around  his  neck,  and  he 
is  led  slowly  around  the  fire.  The  ceremony  is 
called  u making  him  heavy’7  (sEp’a'lyix),  and 
means  that  he  is  by  this  weight  prevented  from 
flying  away  and  growing  excited  again.  After 
his  initiation  he  must  stay  in  his  room  for  a 
whole  year.  After  biting,  he  must  chew  the 
bark  of  u devil’s  club”  (woo'mst),  which  acts 
as  a purgative. 

I received  the  following  description  from  the 
Tsimshian.  It  seems  that  their  customs  and 
those  described  before  are  practically  identical. 

During  the  dancing  season  a feast  is  given, 
and  while  the  women  are  dancing  the  novice 
is  suddenly  said  to  have  disappeared.  It  is 
supposed  that  he  goes  to  heaven.  If  he  is  a 
child , he  stays  away  four  days ; youths  remain 
about  six  days,  and  grown-up  persons  several 
months.  Chiefs  are  supposed  to  stay  in  heaven  during  the  fall  and  the 
entire  winter.  When  this  period  has  elapsed,  they  suddenly  reappear 
near  the  beach,  carried  by  an  artificial  monster 
belonging  to  their  crest.  Then  all  the  members 
of  the  secret  society  to  which  the  novice  is  to 
belong  gather  and  walk  down  in  grand  proces- 
sion to  the  beach  to  fetch  the  child.  At  this  time 
his  parents  bring  presents,  particularly  elk  skins, 
strung  upon  a rope  as  long  as  the  procession,  to 
be  given  at  a subsequent  feast.  The  people  sur- 
round the  novice  and  lead  him  into  every  house 
in  order  to  show  that  he  has  returned.  Then  he 
is  taken  to  the  house  of  his  parents,  and  a large 
bunch  of  red  cedar  bark  is  fastened  over  the  door 
to  show  that  the  house  is  tabooed  and  nobody 
is  allowed  to  enter.  The  chief  sings  while  the 
cedar  bark  is  being  fastened.  In  the  afternoon 
the  sacred  house  is  prepared  for  the  dance.  A 
section  in  the  rear  of  the  house  is  divided  off  by 
means  of  curtains;  it  is  to  serve  as  a stage  on  which  the  dancers  and 
the  novice  appear.  When  all  is  ready,  messengers,  carrying  large 
carved  batons,  are  sent  around  to  invite  the  members  of  the  society,  the 


Tlingit. 

Cat.  No.  74333,  U.  S.  N.  M.  Collected  by 
J.  J.  McLean. 


Fig. 214. 

MASK  REPRESENTING  THE 
SPIRIT  OF  SLEEP. 
Tsimshian. 

From  a sketch  made  at  the  World’s 
Columbian  Exposition. 


660 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


chief  first.  The  women  sit  down  in  one  row,  nicely  dressed  up  in  button 
blankets  and  their  faces  painted  red.  The  chief  wears  the  amhalait — a 
carving  rising  from  the  forehead,  set  with  sea-lion  barbs,  and  with  a 
long  drapery  of  ermine  skins  (see  Plate  47)— the  others,  the  cedar  bark 
rings  of  their  societies.  Then  the  women  begin  to  dance.  After  a 
while  a prominent  man  rises  to  deliver  a speech.  He  says:  “All  of 
you  know  that  our  novice  went  up  to  heaven  5 then  he  made  a mistake 
and  has  been  returned ; now  you  will  see  him.”  Then  he  begins  the 
song;  the  curtain  is  drawn  and  masked  dancers  are  seen  surrounding 
the  novice  and  representing  the  spirits  which  he  has  encountered  in 
heaven.  At  the  same  time  eagle  down  is  blown  into  the  air.  After 
the  dance  is  over  the  presents  which  were  strung  on  the  rope  are  dis- 
tributed among  the  members  of  the  secret  society. 

The  novice  has  a beautifully  painted  room  set  apart  for  his  use.  He 
remains  naked  during  the  dancing  season.  He  must  not  look  into  the 
fire.  He  must  abstain  from  food  and  drink,  and 
is  only  allowed  to  moisten  his  lips  occasionally. 
He  wears  his  head  ring  continually.  After  the 
ceremonies  are  all  finished  the  festival  of  “ clothing 
the  novice”  is  celebrated.  He  sits  in  his  room 
quietly  singing  while  the  people  assemble  in  the 
house.  His  song  is  heard  to  grow  louder,  and  at 
last  he  makes  his  appearance.  He  has  put  otf  his 
ring  of  red  cedar  bark.  Then  the  people  try  to 
throw  a bear  skin  over  him,  which  they  succeed  in 
doing  only  after  a severe  struggle.  All  the  socie- 
ties take  part  in  this  feast,  each  sitting  grouped 
together.  The  uninitiated  stand  at  the  door.  This 
ends  the  ceremonies. 

The  initiations  are  repeated  from  time  to  time,  and  the  rank  of  a per- 
son becomes  the  higher  the  more  frequently  he  has  gone  through  the 
ceremony;  but  nobody,  chiefs  excepted,  can  be  a member  of  more  than 
one  secret  society.  The  sEmhalai't  are  in  so  far  a preparatory  step  to 
the  societies,  as  everybody  who  wants  to  enter  them  must  have  acquired 
the  sEmhalai't  first.  A member  of  one  of  the  other  societies,  namely, 
the  meiLa',  nonLE'm  or  olala',  can  not  enter  any  other  society,  but 
remains  in  the  society  in  which  he  has  been  initiated.  Those  who  have 
passed  twice  through  the  sEmhalai't  ceremonies  are  called  ts’e'ik. 

XIY.  The  Growth  of  the  Secret  Societies. 

The  secret  societies  of  the  Kwakiutl,  as  we  know  them  nowadays, 
are  undoubtedly  a complex  growth.  We  will  endeavor  to  elucidate,  so 
far  as  possible,  the  history  of  their  development  by  means  of  the 
material  presented  in  the  preceding  paper. 

A comparison  of  the  ceremonials  of  the  various  tribes  of  the  Xorth 
Pacific  Coast,  which  were  briefly  described  in  the  last  chapter,  does 


Fig.  215. 

MASK  REPRESENTING  THE 
COLL). 

Tsimshian. 

From  a sketch  made  at  the  World’s 
Columbian  Exposition. 


THE  KWAKIUTL  INDIANS. 


661 


not  leave  any  doubt  that  they  are  in  the  main  derived  from  the  same 
source.  Not  only  are  the  ceremonials  much  alike,  but  even  their  names 
are  identical.  Among  all  the  tribes,  the  badges  of  the  ceremonials  are 
made  of  cedar  bark,  which  is  dyed  red  in  the  juice  of  the  alder.  Head 
rings,  neck  rings,  and  masks  are  worn  by  the  dancers.  The  perform- 
ances themselves  are  essentially  the  same  from  Alaska  to  Juan  de  Fuca 
Strait.  But  the  most  certain  proof  of  their  common  origin  lies  in  the 
identity  of  name  among  the  various  tribes.  Among  the  Haida,  Tlingit, 
and  Tsimshian  we  find  the  names  olala,  me'iLa,  and  no'nLEm,  which 
belong  to  the  ceremonial  of  the  Kwakiutl  as  well.  Among  the  Bilxula 
the  names  can  not  be  derived  from  the  same  words  as  among  the  other 
tribes,  but  there  the  ceremonial  itself  is  almost  identical  with  that  of 
the  Kwakiutl.  It  certainly  does  not  differ  more  from  the  ceremonial  as 
described  here  than  that  of  other  tribes  of  Kwakiutl  lineage  differs 
from  the  ceremonial  of  the  Kwakiutl  proper.  Besides  this,  the  names 
of  the  dancers,  if  not  those  of  their  dances,  are  very  often  borrowed 
from  the  Kwakiutl.  Turning  to  the  south,  we  find  the  Nootka  as  well 
as  the  Salishan  tribes  who  practice  the  ceremonial,  terming  it  by  the 
two  names  Lo'koala  and  no'nLEm,  both  of  which  are  names  used  for 
portions  of  the  ceremonial  of  the  Kwakiutl. 

The  following  table  exhibits  the  terms  that  are  used  to  designate 
parts  of  the -ceremonial  among  various  tribes: 


Kwakiutl. 

Haida  and  Tsim- 
shian. 

Nootka. 

Salish. 

ts’a/eqa. 

ts’e'ik  (p.  660). 

tsa'yeq  (p.  642). 

Lo'koala. 

Lo'koala  (p.  632). 

Lo'koala  (p.  645). 

o'lala. 

no'nLEm. 

olala'  (p.  651). 
loLE'm,  noLE'm 

nonLE'm  (p.  644). 

nonLE'm  (p.  645). 

me'iLa. 

(p.  651). 
meii.a'  (p.  651). 

meiLa'  (p.  645). 

As  all  the  words  which  I have  enumerated  belonged  originally  to  the 
Kwakiutl  language,  there  can  be  no  doubt  that  the  ceremonial  of  the 
Kwakiutl  has  influenced  those  of  the  neighboring  tribes  to  a very 
great  extent.  It  does  not  follow  necessarily  that  no  secret  societies 
existed  before  the  Kwakiutl  exerted  their  influence  over  the  people  of 
the  coast.  On  the  contrary,  the  wide  distribution  of  secret  societies 
and  the  general  similarity  of  the  underlying  principle  all  over  North 
America  make  it  probable  that  such  societies  did  exist.  But  there  can 
be  no  doubt  that  their  present  character  was  attained  among  the 
Kwakiutl,  from  whom  the  societies  in  their  present  form  spread  over  a 
vast  territory.1 

The  question  then  arises,  How  did  the  societies  acquire  their  peculiar 
characteristics  among  the  Kwakiutl?  I may  be  allowed  at  this  place  to 

]It  can  not  be  proved  that  any  connection  exists  between  the  hawfnalaL  cere- 
monies described  on  page  495  and  the  sun-dance  ceremonies  of  the  Sioux  and  Black- 
feet,  but  their  analogy  is  quite  striking. 


662 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


refer  to  what  I stated  previously  (pp.  332,  336)  in  regard  to  the  growth 
of  the  clan  system  of  the  Kwakiutl  tribes.  I pointed  out  that  this 
system  probably  attained  its  present  development  under  the  impetus 
of  the  clan  system  of  the  northern  tribes;  that  the  social  distinction 
connected  with  the  possession  of  a clan  legend  gave  a sufficient  sugges- 
tion to  the  mind  of  the  Indian  to  turn  his  imagination  in  this  direction, 
and  that  the  hereditary  manitou  probably  became  the  totem  of  the  clan. 

The  close  similarity  between  the  clan  legends  and  those  of  the  acquisi- 
tion of  spirits  presiding  over  secret  societies,  as  well  as  the  intimate 
relation  between  these  and  the  social  organizations  of  the  tribes,  allow 
us  to  apply  the  same  argument  to  the  consideration  of  the  growth  of 
the  secret  societies,  and  lead  us  to  the  conclusion  that  the  same  psy- 
chical factor  that  molded  the  clans  into  their  present  shape  molded  the 
secret  societies. 

If  this  argument  is  correct,  we  must  expect  that  the  legends  of  the 
secret  societies,  although  belonging  to  the  most  sacred  myths  of 
the  tribes,  show  indications  of  foreign  influences,  as  these  must  have 
offered  the  material  for  the  suggestions  which  gave  rise  to  the  myths. 
I will  not  at  this  place  enter  into  a detailed  discussion  of  these  tradi- 
tions as  I have  done  so  in  another  publication.1 2  I have  shown  that 
all  legends  of  this  region  are  of  complex  origin,  and  that  they  must 
have  been  carried  over  enormous  distances  from  tribe  to  tribe.  This  is 
true  as  well  of  the  more  insignificant  tales  as  of  the  most  important 
myths,  such  as  creation  legends,  and  the  legends  of  the  origin  of  the 
secret  societies.  To  give  only  one  or  two  examples:  In  the  tale  of  the 
origin  of  the  cannibal  society  of  the  Hefiltsuq  (p.  401),  it  is  told  how  a 
woman  gave  birth  to  a number  of  dogs,  who  attained  the  secrets  of  the 
cannibal  society.  This  tale  is  found  over  the  whole  of  the  northwestern 
portion  of  North  America,  among  all  the  Athapascan  tribes,  among 
the  Eskimo,  and  all  along  the  North  Pacific  Coast.  Only  in  this  sin- 
gle instance  is  it  connected  with  the  origin  of  the  secret  societies,  and  I 
conclude,  therefore,  that  a foreign  story  has  been  embodied  in  this  myth. 

While  here  the  foreign  portion  of  the  myth  forms  only  a slightly 
connected  incident  of  the  tale,  foreign  material  is  much  more  closely 
interwoven  with  the  whole  fabric  in  the  most  important  one  of  all 
the  legends  of  secret  societies,  viz,  the  tale  of  BaxbakualanuXsI'wae. 
When  we  compare  this  myth  with  the  creation  myth  of  the  Chinook j 
we  find  a remarkable  resemblance  in  certain  parts  of  the  legends. 
The  grandmother  of  the  divinity  of  the  Chinook,  when  a child,  was  car- 
ried away  by  a monster.  Their  child  became  the  mother  of  the  culture 
hero,  and  by  her  help  the  monster  was  slain.  Among  the  Kwakiutl,  the 
cannibal  spirit  carries  away  a girl,  and  is  finally  slain  by  her  help. 
In  one  version,  their  child  becomes  the  new  cannibal  spirit.  There 
exist  several  stories  on  the  west  coast  of  Vancouver  Island  which  form 

1 “ Indianische  Sagen  von  der  Nord-Pacifischen  Kiiste  Amerikas,”  Berlin,  1895,  p. 
329. 

2 “ Chinook  Texts, ” Bulletin  T 20of  the  Bureau  of  Ethnology,  Washington,  1894,  p.9. 


THE  KWAKIUTL  INDIANS. 


663 


probably  the  connecting  links  between  these  two  legends.  Further- 
more, the  important  incident  of  the  magic  flight  which  figures  in  the 
Kwakiutl  legend  (p.  400)  has  so  wide  a distribution,  not  only  on  the 
Pacific  Coast  but  also  in  the  Old  World,  that  we  must  consider  it  a 
foreign  element  in  this  myth.1 

These  instances  show  that  the  myths  referring  to  the  ceremonial  are 
of  complex  origin. 

I will  point  out  another  peculiarity  of  these  traditions:  When  we 
compare  the  legends  as  told  by  the  various  tribes  of  the  coast,  we  find 
that  the  ceremonial  is  derived  from  a variety  of  myths.  Some  men 
obtained  it  from  BaxbakualanuXsI'wae,  others  from  the  wolves,  still 
others  brought  it  down  from  heaven.  The  legend  of  the  Tsimshian  tells 
that  a hunter  obtained  it  from  a bear  who  took  him  into  his  lodge  in 
the  interior  of  a rock  (p.  652).  Traditions  which  are  entirely  distinct 
in  character  and  origin  are  brought  forward  to  explain  the  origin  of 
the  same  ceremonial. 

What  does  this  prove?  We  have  seen  that  none  of  the  tales  referred 
to  can  be  considered  as  a growth  of  the  genius  of  any  of  these  tribes 
uninfluenced  by  any  foreign  sources.  All  the  traditions  are  full  of  for- 
eign elements  which  can  be  traced,  step  by  step,  to  distant  regions. 
When  we  see,  therefore,  that  the  same  ritual  is  explained  by  a variety 
of  traditions,  we  must  conclude  that  in  this  region  at  least  the  ritual  is 
older  than  the  tradition  referring  to  the  ritual;  that  the  former  must  be 
considered  as  primary,  the  latter  as  secondary. 

I believe  the  source  of  the  ritual,  as  well  as  of  the  legends  which  are 
connected  with  it,  must  be  looked  for  in  the  advantages  and  the  pre- 
rogatives which  the  membership  of  secret  societies  gives.  This  must 
have  caused  a desire  to  possess  such  membership,  which  either  led 
men  to  acquire  memberships  in  existing  societies,  or,  where  these  were 
not  sufficient,  for  the  people  to  invent  new  ones.  Of  course,  I do  not 
mean  to  say  that  the  Indian  invented  traditions  consciously  and 
intentionally,  but  that  the  desire  excited  his  fancy  and  his  whole  state 
of  mind,  and  that  in  this  manner,  after  appropriate  fasting,  the  oppor- 
tunity was  given  for  hallucinations,  the  material  for  which  was  neces- 
sarily taken  from  the  existing  ideas,  or  from  the  ideas  of  neighboring 
tribes.  These  are  the  peculiar  phenomena  which  were  set  forth  by 
Stoll  in  his  book  on  Suggestion,  and  I think  in  a deeper  manner  by 
Tarde  in  his  book  on  the  Laws  of  Imitation. 

It  is  easily  understood  how  the  exciting  aspect  of  the  ceremonial  of 
the  cannibal  society  caused  a young  man  who  had  gone  fasting  to 
believe  that  he  saw  in  his  hallucinations  the  same  spirit  under  new 
conditions,  and  to  tell  of  his  experience  after  his  return.  As  the 
notion  had  become  established  that  the  spirit,  after  having  been  seen, 
had  a tendency  to  reappear  to  the  descendants,  an  opportunity  was 
given  for  the  formation  of  a new  place  in  the  secret  society.  We  may 

'For  a remarkable  analogue  of  this  tradition  collected  among  the  Golds  of  Amoor 
River,  see  “Globus/7  LXX1,  page  92. 


664 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


therefore  assume  that  the  psychological  explanation  for  the  develop- 
ment of  the  complicated  system  of  the  membership  in  secret  societies 
lies  in  the  combined  action  of  the  social  system  on  the  one  hand  and 
the  method  of  acquiring  manitous  on  the  other. 

While  these  considerations  explain  the  variety  of  forms  of  the  secret 
societies  and  prove  that  the  myths  on  which  the  ritual  is  apparently 
founded  are  probably  secondary  in  character,  they  do  not  give  a clew 
to.  the  origin  of  the  secret  societies  and  of  the  peculiar  customs  con- 
nected with  them.  There  are,  however,  indications  which  allow  us  to 
conclude  that  these  customs  had  their  origin  in  methods  of  warfare. 
First  of  all,  the  deity  Wina'lag-ilisis  considered  the  bringer  of  the  cere- 
monial. This  name  means  “the  one  who  makes  war  upon  the  whole 
world,”  and  he  rules  the  mind  of  man  at  the  time  of  war  as  well  as 
during  the  period  of  activity  of  the  secret  societies.  For  this  reason, 
also,  the  secret  societies  are  in  action  during  times  of  war,  in  winter  as 
well  as  in  summer  (see  p.  429).  All  the  oldest  songs  of  these  socie- 
ties have  reference  to  war;  the  cannibal,  the  bear  dancer,  and  the 
fool  dancer,  are  considered  as  chief  warriors,  and  fall  into  ecstasies  as 
soon  as  they  have  killed  an  enemy.  All  this  seems  to  indicate  that 
the  origin  of  the  secret  societies  has  a close  connection  with  warfare. 

But  one  thing  more  must  be  considered.  The  customs  which  we 
observe  nowadays  are  evidently  a modern  development  of  more  ancient 
forms.  The  ceremonial  of  cannibalism,  which  nowadays  is  the  most 
important  part  of  the  whole  ceremonial,  is  known  to  have  been  intro- 
duced among  the  various  tribes  recently,  although  its  foundation,  the 
idea  of  the  existence  of  a spirit  who  is  killing  people,  is  present  among 
all  the  tribes.  The  Kwakiutl  state  uniformly  that  the  custom  of 
devouring  men  was  introduced  among  their  tribe  about  sixty  years 
ago,  and  that  it  was  derived  from  the  He'iltsuq.  We  also  have 
conclusive  evidence  that  the  custom  was  acquired  by  the  Tsimshian 
not  more  than  seventy  years  ago,  and  that  they  also  obtained  it 
from  the  HeTltsuq.  Therefore  there  is  no  doubt  that  the  custom  origi- 
nally was  confined  to  the  small  territory  of  the  He'iltsuq.  Among  the 
southern  tribes  the  action  of  the  cannibal  was  confined  to  his  taking 
hold  with  his  teeth  of  the  heads  of  enemies,  which  were  cut  off  in  war. 

The  form  in  which  the  ceremony  of  cannibalism  of  the  He'iltsuq 
appeared  first  was  the  following:  A slave  was  killed  by  his  owner,  and 
then  was  torn  and  eaten  by  the  cannibals,  or  pieces  of  flesh  were  torn 
with  the  teeth  from  the  arms  or  the  chest  of  people,  or,  finally,  corpses 
which  were  prepared  in  a particular  manner  were  devoured  by  the  can- 
nibal. The  first  of  these  customs  shows  clearly  its  close  connection 
with  warfare.  The  slave  is  the  booty  of  the  cannibal  or  of  his  relatives, 
and  by  slaying  him  the  victory  is  once  more  brought  before  the  eyes  of 
his  admiring  friends.  It  is  hardly  possible  to  prove  definitely  that  the 
secret  societies  have  developed  exclusively  from  customs  relating  to 
warfare,  but  I believe  my  remarks  have  made  clear  the  close  connection 
between  the  two  phenomena. 


APPENDIX. 


[To  page  336.] 

THE  ORIGIN  OF  THE  CLAN  O’MANITS’ENOX  OF  THE  LASQ’ENOX. 
G-a/x’amlae  Dz’i/lqoaloLEla  Lawis  sa'sEme  yix  Se'paxaes  lo  Ya/q’-  1 

Came  he  it  is  said  Dz’i'lqoaloLEla  and  his  children  that  Shining  down  and 

Ent’Emae  xa  ts’Eda/q  Lo  G-e'xdEn  LEwa  a/Le  xono'kse  Da/doqoanaqe- 

First  speaker  that  woman  and  G'e'xdEn  and  last  his  child.  Seeing  from  one  cor- 
ner to  the 

sEla.  K-’e'slae  g-a/xe  qa/nEmas  Dz’idqoaloLEla  yix  L’e'sElaqa  qa 

other.  Not  it  is  said  came  the  wife  of  Dz’i'lqoaloLEla  that  sun  woman  for 

hedene  mas  qa/samase  L’e'sElaqa  xa  L’e'sEla.  Hedat’a  nEqa/xa 

her  being  who  makes  walk  sun  woman  the  sun.  But  he  came  down 

O'manis  yix  DzddqoaloLEla  Lawis  sa/sEm.  He'x-’ida  am  lawis  G-e'x-  5 

O'manis  that  Dz’i'lqoaloLEla  and  his  children.  Right  away  it  is  said  GPe'x- 

dEn  la  qa/s’ida  la'xa  Wa/k-’eqesLa.  La  do'x’oaLEla  xa  nEqa/ts’aqe 

dEn  went  he  walked  to  the  Bent  Bay  its  name.  He  discovered  the  ten 

went 

Xua/k7una  niExe's  laq.  Ladae  wunwl'k-aq,  laam  lawis  lax  a'Laea  sa 

canoes  spread  on  there.  Then  he  hid  from  them,  he  went  it  is  said  at  inland  of 
the  beach  it  is  said  the 

Xua'Xuakdma.  Lae  G-e'xdEn  dExwuLt’a'lis  laq.  La/lae  ya/q’eg-aLe 

canoes.  Then  G-e'xdEn  jumped  out  of  the  there.  Then  he  spoke 

woods 

da  nemo'k’ue  bEgwa/nEm:  “Ma/sos  ya'lag-ilisex,  G-e'xdEn?”  ne'x-- 

the  one  man:  “What  you  working  for,  G-e'xdEn?”  he  was 

solae  G-e'xdEn.  La/lae  na'naxma’ya : u T;aT;bqoasta'yin  Iol.”  La/lae  10 

told  G-e'xdEn.  Then  he  replied:  “ I am  trying  to  get  a from  Then  it 

magical  treasure  you.”  is  said 

wHLe/  G-e'xdEna  xa  bEgwa'nEme:  u Mae'noxoas ? n La/lae  na/naxmaye 

asked  G-e'xdEn  the  man:  “ Of  what  tribe  are  Then  it  he  answered 

you?”  is  said 

da  bEgwa/nEmax:  “ Ma/x’enoxu'nux.  Hau'xwidox  alewats’a'xsnox 

the  man:  “We  are  killer  whales.  He  broke  it  our  hunting  canoe 

g-I'qamayex.”  La/lae  wuLa's-awe  G-e'xdEn  lax  t’Emyose  xes  Xua'k?- 

this  chief.”  Then  it  he  was  asked  G-e'xdEn  at  sewing  for  ca- 

is  said  material  his 

unexs  hau'xwidae.  La/lae  ne'La  sa  do'ex.  “Ha'g’a  ax’e'dEx  doe'xa,” 

noe  it  was  broken.  Then  it  he  said  of  cedar  “Go  take  cedar 

is  said  the  twigs:  twigs,” 

neXso  lae  G-e'xdEn.  Ladae  qa's’ida.  K-’e'slat’a  qa'Laxs  g-a'xae  da'la  15 

he  was  it  is  G-e'xdEn.  Then  it  he  walked.  Not  he  went  long  he  came  carry- 
told  said  is  said  ing 

xa  dawe'x  qa  s tsa/wis  laxa  bEgwa/nEm.  Ladae  da  bEgwa/nEm  aaLtsada 

the  cedar  to  give  them  to  the  man.  Then  it  the  man  broke  to 

twigs  is  said  pieces 

xa  do'wex : “ Ma/se  xa'nLEla  g-iLa'sik-  tEdqoa  ? ” Ladae  da  bEgwa/nEm 

the  cedar  “What  makes  it  weak?”  Then  it  the  man 

twigs : is  said 

ya'laqa  xa  nEmb'kue  bEgwa/nEm  qa  les  ax’e'dEx  sE'besa.  Ladae  da 

sent  the  one  man  to  go  take  twisted  on  Then  it  the 

beach  (?)  is  said 

665 


666 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


1 bEgwa'nEm  dzi'lXVida.  K-’e'slat’a  qa'Laxs  g-a'xae  da'la  xa  sE'lbes. 

man  ran.  Not  it  is  said  long  he  came  carrying  the  twisted  on 

beach  ( ?) 

La'lae  da  bEgwa/nEm  t?E'mx-?  it  xa  Xua'k’una.  La'lae  dzi'XsEmtsa 

Then  it  the  man  sewed  the  canoe.  Then  it  he  rubbed  on  to  it 

is  said  is  said 

qoale'k-I  laxis  t’Ema/ye.  Laam  Soa'La.  Ladae  g-I'qamaya  sa  ma'x’enox 

gum  on  his  seam.  That  was  finished.  Then  the  chief  of  killer  whales 

the 

yix  He'lilalag-ilis,  lie'iEm  Le'qEni  sa  g-I'qamaya  sa  maa'mx’enoX: 

that  He'lilalag-ilis.  That  was  the  name  of  chief  of  killer  whales 

the  the 

5 “ La’moX  laLEn  xui'lbalax  ma'sto  la'xox  G-e'xdEn  qa  sEk-i'lasoX  xa 

“This  our  will  go  quartz  harpoon  to  this  G’e'xdEn  to  spear  the 

my  pointed 

qoayi'm.  He'mis  'le'LEqEm  s ME'nLbsElas  t;o  MEnniEnleqadas,  thwIs 

whale.  And  it  the  names  of  ME'nLosElas  and  ME'nmEnleqa’las,  and  it 

g-o'kuLaos  Ma'xexsek-ila  Les  g-okllLaos.  La'Le  ma/x’enoxLes  Lo'qule- 

your  future  killer  whale  will  your  future  It  will  killer  whale  will  future 

house  painting  be  house.  be  be  your  dish. 

Laos.  He'mis  liala'yu  lo  q’ula'sta  iEwa  xui'lx-’ex  xuta'yu  qa  s saX- 

your.  And  the  death  and  the  water  and  the  quartz  knife  for  utcher 

bringer  of  life  edged  knife 

x-a'Los.”  Ladae  wI'XstEnde  da  maa'mX’enoX  la/xis  ale'wats’e.  Ladae 

your.”  Then  they  launched  the  killer  whale  at  their  hunting  canoe.  Then 

lOLEx-’e'de  da  maa'mx’enox.  G-a'xlae  G-e'xdEii  na'nak11  laxis  g-oku. 

they  started  the  killer  whales.  He  then  came  G-e'xdEn  home  to  his  house. 

Laa'm  sEk-a'  xa  qoayi'm  LEwa  q’a'sa.  Lag-iLtse  g-I'qamex-’ida. 

Then  he  speared  the  whale  and  the  sea  otter.  Therefore  he  became  a chief. 

Ladae  e'tfet  qa's’ide  G-e'xdEn.  Ladae  do'x’oaLEla  xa  wl'waoq. 

Then  again  he  walked  G-e'xdEn.  Then  he  discovered  the  wolves. 

Wa/xsqEin  lae  da  nEm.  Ladae  ma'LEme  da  nE'me  wl'waoq.  Ladae 

A head  at  each  it  is  the  one.  Then  it  is  two  heads  the  other  wolf.  Then 

end  said  said 

G-e'xdEn  lax  qa  s ya'yaq’Entame  xa  wl'waoq:  “Ma'sos  axsEwa'q’os?” 

G-e'xdEn  there  to  speak  to  the  wolves:  “ What  you  doing  you?” 

lone'x-lae  G-e'xdEn  la/xa  wi'waok".  Ladae  Le'lale  da  wl'waokuax 


he  said  G-e'xdEn  to  the  wolves.  Then  they  called  the  wolves 

G-e'xdEn  qa  les  lax  g-o'kuas.  Ladae  G-e'xdEn  Xuelig-a'no  sa  ma'LEme 


G-e'xdEn  to 

go 

to  their  house.  Then 

G'e'xdEn  he  was  put  on  of 

his  back  the 

two 

headed 

wi'waoku. 

Ladae  la'g-aa 

la'xa  dz’Ela'L,  g-o'kula  sa  xu'mde. 

Ladae 

wolf. 

Then  they 

arrived 

at  the  lake,  the  village  of  land  otter. 

.the 

Then 

ya/q’eg-aLe 

da 

wi'waok" 

: “Laams 

le'dEnoxsLES  xu'mde.” 

La'lae 

he  spoke 

the 

wolf: 

“Now  you 

this  will  be  land  otter.” 

your  dance 

Then 

g-i'lx-’ide  da  wi'waok":  u Ladae  la'g-aa  lax  g-o'koa  sa  g-i'la.  “Laams 

he  trotted  the  wolf.  Then  they  at  his  house  of  grizzly  How  you 

arrived  the  bear. 


20  le'denuXsLis  g-ida.”  G-a'xeLa  sa  L’a'sq’enox  leddEnoX  sa  g-ida  LEwa 

this  will  be  your  grizzly  Therefore  the  L’a'sq’enox  having  of  grizzly  and  the 

dance  bear.  dance  the  bear 

xu'mde.  Ladae  qa's’idayu  sa  wI'waoku.  Ladae  la/g-aa  lax  g-o'kua 

land  otter.  Then  walked  by  wolf.  Then  they  at  the  house 

the  arrived 


sa  wi'waok.  Hae'LEla’yu  lax  g-o'kua  sa  g-e'qamaya  sa  wi'waok  xa 

of  wolf.  He  was  taken  at  the  house  of  chief  of  wolves  the 

the  the-  the 

Leqades  -^o'Sogolaqa.  Ladae  wuLa'sawa:  “Ma/sos  ya'lag-ilisax?” 

his  name  Howling  woman.  Then  he  was  asked,  “what  you  working?” 


THE  KWAKIUTL  INDIANS. 


667 


Ladae  nadiaxmae  G-e'xdEn:  “ La'Lokoasdayin.”  Ladae  dzo'so  sa  1 

Then  he  answered  G’e'xdeu  I come  to  get  a magical  Then  he  was  of 

treasure.  given  the 

ma/sto  iEwa  xumtxu'mtag'ila  ncEwa  liala/yu  ^Ewa  lele'ida  xa  liama'n- 

harpoon  and  the  making  everything  and  the  death  and  the  dances,  the  laughing 
burn  bringer 

xolaL  iEwa  qaq’e'LElaL.  La/laxaa  ne'k-e  -j^o'Sogolaqa  qa  s le  wi.'na 

dance  and  the  mosquito  dance.  Then  again  said  Howling  "Woman  that  they  tomake 

go  war 

xa  Qa/q’Egwa/dEXLa  lESuXLa/yas  sa  ledqoalaLaye.  La/lae  Tso'ku- 

the  Masters  their  name  their  name  of  the  tribes.  Then  ‘Canoe 

lag*iLa  lae  da  g-I'qamayas.  He'x,7ida  am  lawis  la  wkne  da  wl'waok11.  5 

Bleaker’  it  is  the  their  chief.  Right  away  it  is  said  they  tomake  the  wolves, 
said  went  war 

La/lae  qa/x-’idE  xag-I'qameXde.  Mo'p’Enk-im  lae  da  qa'g-ik11.  G*a'x- 

Then  they  cut  off  the  chief  past.  Rou,r  fathoms  his  it  is  the  head  cut  They 

his  head  face  said  off.  came, 

lae  tsa/yi  da  qa/g*uku  lax  Oe'xdEn.  Laam  te/kuet’edayu  lax  G'e'xdEn. 

it  is  they  the  heads  to  G’e'xdEn.  Then  they  were  hung  on  to  Gr-exdEn. 

said  wTere  to  his  body 

given 

He'x-’ida  amlawis  dze'dzasa/le  da  qeqa/g-ikuax.  Lae  ne'nakue 

At  once  it  is  said  they  squeaked  the  heads.  Then  he  went 

home 

G’e'xdEn.  Laa'm  ncd'kualaxes.  He'x-’ida  amlawis  qoa/qoek-a  xa 

G-e'xdEn.  It  was  his  magical  treasure.  At  once  it  is  said  he  went  whaling  the 

qoayi'm.  Ladae  G-e'xdEn  ya/laqax  DzidqoaloLEla  qa  les  g’oaa/  lax  10 

whale.  Then  it  is  G-e'xdEn  sent  Dzi'lqoaloLEla  to  go  sit  on  at 

said  rock 

Do'q’uXdEma  xa  -iawa/la  lax  La/sqas  qa  da/doqoalese  xa  qoayidn. 

‘Watching  place’  the  standing  at  Lasqas  to  watch  the  whales, 

near  the 
water 

He'Em  lag-lLs  sEk'a'  La/sq’enox  laxa  qoayi'm  LEwa  lelai'de.  He'Em 

Therefore  they  the  La/sq’enox  at  the  whales  and  the  dances.  That 

spear 

axno'guadag-iL  sa  L’a/sq’enoXuas.  Laam  la/pa. 

was  obtained  by  La/sqenox.  That  is  the  end. 

the 

[To  page  355.] 

NEQA'PENKdEM’S  SONG. 

1.  Ts’ei/wuXLEntsea  sEns  q’adasowa  lax  La'sotewalets  na/la. 

Famous  great  our  known  at  outside  of  world. 

Awade  da  g-I’qama  wulqamadlai  gd'qama’ya  okuqeslai  ? f1)  lax  15 

Real  the  chief  highest  of  all  chief  by  himself  ? to 

g.pg-iqama  is  ledqoalaLe.  “Xo'gua’am  lae  a/Llanox  as  gd'g-iqama’ya 

f he  chiefs  of  the  tribes.  “Iam  it  is  having  ser-  of  chiefs 

said  vants 

is  ledqoalaLai.  Xo'gua’am  lalae  ayidkoades  g-I'g-iqama’ya  is 

of  tribes.  I am  it  is  said  having  for  chiefs  of 

speakers 

ledqoalaLai.  No'gua’am  ladae  lElaxs’adnoLax  q’Edq’atisalax  gd'gd- 

trihes.  I am  it  is  said  pieces  of  copper  broken  coppers  the 

qama’ya  is  ledqoalaLai.”  -j^oa'L  tsola  seds  g-I'qamaex  xa'nLElag-ilis 

chiefs  of  tribes.”  Do  not  let  our  chief  here  get  worse 

Lo'malag-ilis  mo'masila  yaixLE'na  SEns  g-T'qamaex  ledqoalaLai,  a'Lalai  20 

overdoing  hurting  property  our  chief  here  tribes,  else 

Lens  xadiLElak-as  lex*aam  laxa  L’a/L’aqoa  laxe  lEdaxs’amuta  qVlqati- 

we  shall  get  worse  only  being  at  the  coppers  at  the  broken  pieces  of  pieces  of 

copper 


One  word  missing. 


668 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


sawe  laxs’EntadaLtse  q’alq’altEdaLtse  saptEndadaLtse,  hewiyakilitse, 

copper  copper  breaker  great  copper  breaker  great  who  throws  cop-  great 

per  into  water 


k*Vsoyak-ilitse, 

the  highest  one  great 
in  back 


g*rg*iqama7ya. 

chiefs. 


XoXslatseyayuLex 

You  went  long  ago 


to  whom  great 
nobody  can 
climb  up 

q’oadosomas 

you  burnt  to 
ashes 

xa'  nF/msqEmaX  will  ledqoalaLai:  XoXslatseyayuLex  gd'qama’ya 

the  one  long  tribes.  You  went  long  ago  ■ chief 

ago 

ledqoalaLai,  qVmx-’idamas  xa  la/laxsaloLa  q’oaqumXsalamas  ya/g*i- 

tribes,  making  them  run  the  going  to  and  making  them  run  to  and  you 

away  fro  in  a hole  fro  in  a bole 

5 LExtsEmoL  g-ins  mo'qume  gins  ledqoalaLai.  XoXlatseyayuLex 

were  enraged  with  our  loaded  canoe  our  tribes.  You  went  long  ago 

them  in  your  at  anchor 

canoe 

oXoa/ya  ts’o'noqumnuXsos  ts’e'ts’eLwa/laoLa  gua/pa’lis  ledqoalaLai. 

oh  sound  ts’o'noqoa  sound  the  famous  one  north  end  tribes. 

XoXslatseyayuLex  gd'qama’ya  ma'Xuax-ilayuleX 

You  went  long  ago  chief  giving  away  blankets 

ledqoalaLai  wooo  ya. 

tribe  wooo  ya. 

2.  .Qoa/L  tso  seds  e'waqame  qEns  q’a/lasowa  lax  La'sotiwalits  na/la. 

Don’t  let  us  our  going  in  front  our  the  one  who  at  outside  forehead  of  world, 
of  him  is  heard 

10  A k*’esLala  Iehs  ledqoalaLai,  ba/xswalaLa1  g-IloLayaLa  xEns  mo'qEinae 

Ah ! not  let  us,  tribes,  steal  3teal  from  loaded  canoe 

our 

g-ins  ledqoalaLai,  a'LalalEns  ts’E'ng’um  laxa  wulasolaxa  mo'koaso  laxa 

our  tribes,  else  we  he  will  be  at  the  hands  will  be  will  be  hanged  at 

angry  tied  the 

mo'qumaex,  ledqoalaLai.  “K-’es  laxa/owis  lehs  waxVmlaxa  wax- 

loaded  canoe  tribe.  “Never  mind  us  do  not  mind  it  mind 

tseEm  laxa.  NEimVXVmlaxa  g-in  nEma'x-itse'yak-  lo  nE'msqEmak" 


g-i'qama7ya  is 

chief  of 


I alone  I as  great  as  this  and  one 

Xemax-itse'ya  g-in  lo  mo'sqamak11  ledqoalaLai.  Xo7- 

as  great  as  I and  four  tribes.  I 

g-Ixtoweso  XusE7la  g-I7xtoweso  sEns  g-I7qamayex 

placed  on  top  of  fighting  placed  on  top  of  our  chief 

place 

Xo'guaq’a/maas  La/qoaqamlis,  Xeg-e7atse,  K-’o7kuig-aliso. 

I am  the  one  Copper  face,  Great  mountain,  Supporter, 

Wa/wala’las,  g-in  g-I7qeteyatse  g-in  ledqoalaLai.  Woa  wa. 

Obstacle,  my  having  me  for  my  tribes.  Woa  w&. 

master. 

[To  page  355.] 

NEQAT’ENK-'EM’S  SONG. 


great  is  at  it. 

ledqoalaLai. 

tribe ; 

15  guaq’a/maas 

am  the  one 

ledqoalaLai. 

tribes. 


1.  -t)oada  mEdmElsElaXdox’oL,  ledqoalaLai!  x^oada  sa  mEdmEl- 

Do  not  look  around,  tribes.  Do  not  indeed  look 

sEladaoqoL  ledqoolaLai,  a7Lala  LEns  da7doxkwinala  lax  laXoX 

around,  tribes,  else  we  shall  see  something  at  our 

terrible 


20  g-oXtseax  sa  a/lax  g-kqama’ya. 

house  great  of  real  chief, 

the 


1 A distorted  Chinook  jargon  word  for  kapsiwa'la. 


THE  KWAKIUTL  INDIANS. 


669 


2.  -Qoa'la  do'doXsestalaXdaoxoL,  lelqoalaLai!  Soala  sa  do'doXse- 

Do  not  look  forward  and  backward,  tribes,  do  not  in-  look  forward 

deed 

stalaXdaoqoL,  lelqoalaLai!  a/Lala  leiis  da/doxkwinala  lax  laXoX 

and  backward,  tribes ! else  we  shall  see  something  at  our 

terrible 

g-o'Xtseax  sa  alax  g-I'qama’ya.  Ts’o'noqoanuXtse  laloX  g-o'xtseax 

house  great  of  real  chief.  Ts’o'noqoa  having  great  our  house  great 

the 

sa  a/lax  g-I'qama’ya.  La/g-iL  tseasoX  ha/manekwilalatsea  dolEmx-iti- 

of  real  chief.  Therefore  our  making  unable  to  great  making  numb 

the  move 

latsea,  k*’es  q’ulaXLaglla,  k-’es  pE'nLExLag-ila  aiXoX  g*o'xtseax  sa 

great,  not  life  making,  not  breath  making  our  house  great  of 

the 

wa/waxsqEmg-ilaxtsea  a/lax  gl'qama’ya. 

double  chief  great  real  chief. 

3.  j^oala  lia'yutElaXdaoX’QL,  lelqoalaLai!  -Qoada  sa  ha'yutEla- 

Do  not  make  noise,  tribes ! Do  not  in-  make 

deed 

daoqoL,  lelqoalaLai!  a/Lala  seiis  La/aqala’yutsea  sa  La'qanuXtsea 

noise,  tribes ! else  we  overturn  great  of  overhanging  great 

the 

g-I'qama’ya.  ‘‘Xo'guaq’a/mas  g-a'yaxalasa  qoi'Laxalasa  g-Ig-Eqama’ya 

chief.  “ I am  the  one  from  whom  comes  from  whom  is  chiefs 

down  untied 

s lelqoalaLai. 

of  tribes. 

4.  -Qda'la  dEndelix*ilaXda6x’6L,  lelqoalaLai!  x)Oala  sa  dEndelix-i- 

Do  not  grumble,  tribes!  Do  not  in-  grum- 

deed 

laXdaox’oL,  lelqoalaLai!  laXoX  gm'xtseax  sa  wa/waxsqEmgllaox- 

ble,  tribes ! in  our  house  great  of  double 

the 

tsea  glqama’ya.  Wa/wanE'meqalag-ila  g’lg-esneqalag-ila  lai  a’la. 

great  chief.  Making  all  expect  to  die  frightening  blood 

kwisawe  sa  wa/XwuLa  g-a/xeLa/lisEm  ma/mEnLeya  laXoX  g*o'x- 

on  body  of  those  who  to  enter  to  eat  at  chief’s  in  our  house 

the  tried  house 

tseax  sa  wa/waxsqEmg-ilaoxtsea  a/lax  g-I'qama’ya.”  HaiXa’me  g-in 

great  of  double  great  real  chief.  Only  that  it  is  me 

the 

tsE'nkumna'xua  lialstalag-iliLa  glxstalag-iliLa  laXoX  ma'menlayu 

angers  eating  a little  only  eating  like  a chief  in  our  food  given 

tseax  sa  wa/waxsqEmg*ilatsea  alax  g-I'qama’ya. 

great  of  double  great  real  chief, 

the 

[To  page  356.] 

HE'NAK'ALASO  (=ENVIED). 

1.  WuLme'g-in  nex-qe  ogwula  kwa/nesElamas  xa  nala.  K/’e'saiLEn 

I thought  I said  another  one  made  smoky  the  weather.  No  I am 

nEmogulagllis  am  he'g*alag*ilis  am  kwa'kux'alatsea  woxspEndalatsea 

the  only  one  in  the  world  the  only  one  on  earth  making  smoke  great  at  both  ends  of  the  year 

LElanEm  axa  wi'wulqE’mak11  lelqoalaLai ; wo  ho  ho. 

called  the  all  tribes  tribes ; wo  ho  ho. 

2.  Wa/LdEmg-a/nEm  La  s ya'q’EndEing'a/iiEmLas  ya/yaqet’eneqa; 

What  will  be  his  word  of  what  will  he  say  again  the  spider  woman ; 


1 

5 

10 

15 

20 


670 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


1 k*’esLait’e  amo'sayaLa  waileqayaLa  waldEms  ya'yaqet’eneqa;  k*’es- 

not  will  he  hrag  going  in  zigzag  his  words  the  spider  woman ; not 

lines 

Laid’e  amo'sayaLa  sag-eLExa/laLa  Xua'kuiL’Exa/laLa  q’E'ltabuLa/yaLa 

will  he  hrag  he  will  give  away  ca-  carrying  canoes  in  his  pretending  to  break 

noes  mouth  coppers 

k-oqoabula'yaLa  k’ue'lasbuLa'yaLa  L’e'nagdlabuLa'yaLa  wa/LdEm  s 

pretending  to  break  pretending  to  give  feasts  pretending  to  give  grease  the  words  of 

coppers  feasts 

yayaqet’eneqa  owag*iL7amasi’la  lE'mlEmXumlisa  que'quxaLEmli’sa 

the  spider  woman  thus  he  turned  dry  in  his  face  moldy  in  his  face 

5 ke'nak-’aetse  La/Lawitse  seus  g'Fg-iqama’ya. 

standing  in  front  standing  in  our  chiefs, 

of  their  belly  front  of  him 

3.  K-’e'osk-’a/sowa  ex  eanag*alas.  La/naXua’mek*  wax*  wa/nexsila 

Nothing  at  all  is  enough  for  you.  Sometimes  this  tried  maltreating 

a/nag*’ila  lamXd’as  haique'x’S  ma'sLa  wa'yoLa  ya/yaLaLg*iwe  qanLo 

making  you  will  be  like  what  old  dog  open  your  legs  he-  when  I 

enough  (future)  fore  me  shall 

ya/k-allLo,  he'imoLxaas  que'x-dde  layo'Lg-in  laxs’EndeyoL  xa  Le'qEm- 

get  excited  in  thus  you  did  when  I did  break  copper  the  named 

the  house, 

noXtsea  a'nqolatsea  no  ma/xts’olEmtsea  sEns  yaexLEn  LeqEmiioXtsea 

great  ‘ Cloud  great  ’ and  ‘ Of  whom  all  are  great  our  property  named  great 

ashamed’ 

10  liakmatsea  i;d  max’enoxtsea  to  LeqEmnoXtsea  opalaa/tsea  t;o  Le'qarn- 

‘ Chief  great’  and  ‘ Killer  whale  great  ’ and  named  great  ‘Point  of  great  and  named 

land  ’ 

nuXtsea  k*mtsegumnuXtsea  no  LeqamnuXtsea  qau'lomatsea.  HaimEn 

great  ‘Of  whom  all  are  great  and  named  great  ‘ Beaver  great.’  That  is 

afraid’  mine 

nE'nqEmx-’itayu  g*in  ya/lasuwa  mo'masasowa  xa  te'istos,  peLpaXseowa 

what  is  thrown  into  my  vanquished  ill  treated  the  limp  one  limp  when  eaten 
the  fire  when  I eat, 

xa/daakumEnex  wa/wrlala  xoa  g-I'qama’ya. 

slim  small  ones  trying  to  van-  this  chief, 

quish 

4.  We'g-a  xoa  g-a/xeLElaox  ma/mEnLeya  laxo  Lawu/lqamayax, 

Go  on ! the  poor  one  who  en-  who  wants  to  be  from  the  sons  of  the  cshief 
tered  fed 

15  q’oale'XLeyatse  kua'xsistalatse  kuaX-ilanb'kumetse  g-I'qama’ya- 

whose  own  name  great  smoke  around  great  smoke  ahead  great  chief, 

the  world 

WaX’E'mLa  wa/lEmx-’ida  q’e'k-isamas  nax?edamasLa  yex-ts’osElaitsoX 

Never  mind  endeavor  to  give  them  making  drink  qualmish 

much  food 

ho'g’oaLElatsox  wI/?laqo  lb’yEwInbXoa  gd'qEma’ya. 

vomiting  never  goes  back  from  chief. 

the  middle 

[To  page  358.] 

1.  YananoXlai  wa/ya  sa  ya/lag*ilis  sa  na/la. 

There  is  a it  is  the  river  of  traveler  around  of  world, 
bear  said  the  the  world  the 

2.  YaLa/wisElai  na/na  sa  wa/ya  sa  ya/lag-ilis  sa  na'la. 

He  is  wild  it  is  the  bear  of  river  of  traveler  around  of  world, 
said  the  the  the  world  the 

20  3.  Ya/xsEm  la/laai  ts’E'lx-aya  xa  wa/ya  sa  ma/mEnsilalisax  g*ins 

Badness  then  it  is  going  up  the  the  river  of  measuring  life  of  man  our 
said  river  the 

le'lqoalaLe. 

tribes. 


THE  KWAKIIJTL  INDIANS. 


671 


4.  Ya!  si'siyuL  lae  ts’E'lx-aya  wa'ya  sa  ma'mEnsilalisax  g-ins  1 

Ta!  si'siyuL,  it  is  going  up  the  the  river  of  measuring  life  of  man  our 

said  river  the 

le'ElqoalaEe. 

tribes. 

5.  Ya!  la’m  la/lae  awa/wustalek11  La/qostalek11  ayiya  xeiis  no'laqamae 

Ta!  they  it  is  great  things  going  copper  going  up  ayiya  our  oldest  brother 
are  said  up  the  river  the  river 

aya  xg*Ins  le'ElqoalaLe. 

aye  of  our  tribes. 

[To  page  358.] 

1.  Halioqoag'a'nEmt  ana  L’e's’ala  g*a/nEmLa  g-e'qama’ya  le'lqolaLai  5 

He  will  not  have  mercy  heat  it  will  he  the  chief  tribes, 

upon  the  people 

2.  La/tsek-as  g*a/nEmi,e  lialio'qula  L’e's’ala  g-a'nEmLa  t’eqoapatsea 

Thus  great  will  he  not  having  the  heat  it  will  he  great  fire  with 

mercy  stones  in  it 

sEns  g-I'qama’ye  le'lqoalaLai. 

of  our  chief  tribes. 

3.  Motma’no's’a  q’e'q’akns  motmadeg-e'xoa  k-’oe'lasilaLtsex  t’ai'qoa- 

Tou  eat  all  the  rest  eating  much  who  eats  the  rest  this  great  one  who  this  great 
of  the  feast  always  gives  feasts 

palaLtsex  gYqama’ya  le'lqoalaLai. 

one  who  chief  tribes, 

always  performs 
the  fire  dance 

4.  Lo'malagdlitse  wist’Ens  g-I'qama’yex  le'lqolaLai.  Wiq’ana'koei  10 

Too  great  is  what  he  is  this  chief  tribes.  Who  is  like  to  him 

doing  our 

heistalaEn  k’oe'latsestala  xehs  g-I'qama’yex  le'lqolaLai. 

going  around  giving  feasts  all  our  this  chief  tribes, 

around. 

5.  Yo'EmxEnt  es’aqEmoL  he'wexaLe  nE'mp’anaLa  k’ua'k’uilatsE- 

This  must  he  put  into  him  he  never  once  gave  a small 

by  his  father 

inaLa  g-e'qapoe  sEns  g-I'qama’ye  le'lqolaLai. 

feast  lower  chief  of  our  chief  tribes. 

TUNE,  RECORDED  BY  F.  BOAS. 


Halio  - qoa  - g*a  - be  - mt  a na  - a - L’e  - s’a  la  la 
Beating  | x | — • | — • | - • j--|  - • 


g’a-BEm  - La  g*e  - - qa  - ma  - ye  ha  ye  ya 

I - I -•  I - J I J J J I 


ha a hd  d a a 

J J J I J J J I J J Jf  J J J | J J J | J J J | 


672 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


a ho  o-o  5 ye  - - he  ya  he  halio 

J J J I J J J I J J J I J J J : I J J J l J j j i 


qoa  - g*a  - nE  - mt  ana  . . . L’e  -s’a  la  . . . g*a-nEm-La 


J J.  J I J J J I J J J I J J J I J J J I J J J I 


g’e  . . qa  - ma  - ye  ha  ye  ya  ha a . . . 


J J J I J J J I J J J I J J J I J J J ) J J J I 


ha  - a a a ye  — he  | 

J J J I J J J I J J J I J J J I J J J I J J J I 


Lat  - se  k*as  g*a  - nEm  - Le  e - yo  - koa  - la  - tse 


L’e  - s’a  la  g*a  - nEm  - La  t’a  - qoa  - p’a  - tse 

s s MS  S SIS  S SIS  S MS  S MS  S S 

1 7 A j A A • w 7 A * I J 7 A J.  I A J 7 « l#1 1 • 7 J 


Si! 


s s s 


sv  ■ js 


9 

a aa a aa 1 


k’oe-la  - si  - laL  - tse  g*i  - qa  - ma  - ye 

A A AIAA  A A A /I  AAA 


A A 


7 v 


* *7  O 


-M 


THE  KWAKIUTL  INDIANS. 


673 


ha  - ye  ya  ha  . . . a 

wi  A M J J I J J J IJ  J Jl  J J J IJ  J JIJ  J JIJ  J J I 


as  above. 

ha -a  - ad  ye  - he  ( Motma  no  - sa  — 

J J JIJ  J JIJ  J Jlf*-.MWI  AVI'6*- 

The  three  part  beats  are  syncopated,  the  sticks  being  raised  at  each 
quarter  and  therefore  falling  nearly  on  the  second  eighth  of  the  three 
part  bar.  The  four  part  rhythm  is  syncopated  in  the  same  manner. 
The  rhythm  of  the  tune  of  the  second  line,  Lats’ek-as  g-anEmLe,  is  not 
quite  certain.  I counted  the  f of  the  second  bar  almost  three  eighths, 
and  also  in  the  seventh  bar  of  this  part,  but  there  seemed  to  be 
throughout  slight  irregularities  in  rhythm  of  the  first  seven  bars  ot 
this  part  of  the  song,  though  the  beating  is  perfectly  regular,  five 
eighths  against  three  of  the  tune.  The  text  as  sung  by  my  informant 
differs  slightly  from  the  dictated  text. 


[To  page  374.] 

Xu'yampalisa  Lai  laox,  nu/yainpalisa  Lai  lox,  g*a/xadst6a  Lai  Lau  1 

Tale  from  the  be-  your,  tale  from  the  he-  your,  you  came  up 

ginning  ginning. 

q’o'mok-ustaaLlaoL  qNymanakulak'as,  qaVmoXs’a/lak-a's’o,  q’o'mX- 

your  Q’o'moqoa  house  real  wealth  moving,  real  wealth  coming  ashore,  wealth  on 

came  up 

q’omguligtj  nEg-Isilask*as7o  ne'gdyatsek-as’o.  Xu'yampalisa  Lai  lox. 

his  hack  making  a mountain  great  real  mountain.  Tale  from  the  he-  your, 

of  property  , ginning 

[To  page  382.] 

NOMASE'NXELIS. 

Qoa/LEla  a'm  lae  Xo'mase  da  bEgua/nEm  lax  A'g-iwa’laa  lax  mEku- 

In  the  beginning  it  is  No'mas  the  man  at  A'g-iwa’la  at  in  front 

said 

nm/’ya  Tsa/xis.  Oo'guat  sis  gm'kue  lax  A'guwa’la.  Xu'ngdnk-ala  El  5 

of  Fort  He  had  a his  house  at  A'g'iwa’la.  Father  and  son  it  is 

Kupert.  house  said 

nawis  xono'kue  L’a/qoag'ilaqEmae.  XEma'g'u’stalis  a'mlae  Xo'mas 

with  his  son  “Copper  maker  face.”  They  came  up  together  it  is  said  Nd'mas 

NAT  MUS  95 43 


674 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


li;awis  Ya'qoa.  Qoa'LEla  a'm’lae  t’e'g-its’adeL  xa  L’aqoa.  La'g-iLas 

and  his  copper.  In  the  he-  it  is  said  he  lay  on  it  with  the  copper.  Therefore 

ginning  knees  drawn  up 

Soa/LElaam  L’a/qoagb’laqameXLa  xono'kua.  G*a/xlae  Yix*a/qEmae 

in  the  begin-  “ Copper  maker  face  ” its  name  the  child.  He  came  it  is  Yix-a'qEmae 

ning  said 

liedlax  Nobnas.  Xe'x-lae  Yix-a/qamayaxs  q’ulebiokua  as  Xo'mas. 

and  asked  to  No'mas.  It  is  siad  Yix'a'qEmae  his  uncle  having  of  Xo'mas. 

do  something 
for  him 

Laa'm  liaidanEma  Le  Yix*a/qamayax  Xo'mas  qa  es  qaqak*’ane/neLe. 

Then  he  was  asked  to  by  Yix-aqEmae  No'mas  that  he  took  a wife, 

work 

5 Hai/lae  g'o'kula  Yix-a'qamae  LiXsi'wae.  La'am  ma/wede  Yix-a/qaya- 

It  was  the  town  Yix'a'qEmae  LiXsi'wae.  Then  he  caused  him  Yix-a'qE- 

to  move  his 
camp 

max  Xo'mas  qa  s le  qap’a'LaLawe  lax  LiXsi'wae,  qa  qEg*a'taeneLas 

mae  No'mas  that  he  went  to  live  together  at  LiXsi'wae,  for  he  wanted  to  marry 
with  him 

xono'kuas  Yix*a/qamayas  g*’e'deLas  Sa'gd’ye.  ME'Xula  lae  Yix-a'qa- 

his  child  Yixa/qEmae  his  princess  Sa'g'i’ye.  He  desired  it  is  Yix'a'qE- 

said 

mayax  g*o'kuas  Sa'g'i’ye  yaxs  L’axL’ayaai'koae.  La/g-iLas  nex*  qa  s 

mae  his  house  S&'g'i’ye  his  carvings.  Therefore  he  that  he 

said 

qig*a'de  laq.  Ma'x’endx  lae  k-’a'tama’ya  sa  g*oku.  G’utse'g'ilae  da 

married  her  there.  Killer  whale  it  is  the  painting  on  of  the  house.  Sitting  on  its  back  the 
said  the  front 

10  ts’e'k’oeq.  K*’eds  El  k-’es  Soa'Laats  awI'nakuiLa  sa  g*okn.  La'am 

gulls.  Xot  it  is  not  the  same  all  around  the  of  the  house.  Then 

said  floor 

lae  Xo'mase  g-i'lg'ilaxsL  laL  gb'ldzaqoaL  da'la  xes  se'k*’aqano,  qa  es 

it  is  No'mas  first  out  of  the  he  will  he  will  speak  first  taking  his  staff,  for  it 

said  canoe  go 

he'g-iLaEl  £oa/Le  se'k*’aqanos  a’yasoxtalagbLas  se'k-’aqanos  sexsq’a'- 

therefore  it  is  thus  his  staff  hand  on  top  of  it  his  staff  because  he 

said  therefore 


q’aLlelaas  lax  g-’e'sg-’edeLa  sa  g'i'g'iqama’ya  sa  le'lqolaLai.  Laa'm 

carried  on  his  there  princesses  of  the  chiefs  of  the  tribes.  Then 

hands 


da'la  xis  ya'q’antp’eq  qe  s se'k-’aqano.  Laa'mlae  Iolx  g*’e'deLas 

he  took  his  speaker’s  staff  for  his  staff.  Then  it  is  he  got  the  princess  of 

said 


15  Sa'g'i’ye.  Laa'mlae  a/’me  Xobnas  la  nEma/eL  t;o  Yix'a'qame.  Laa'm 


S&'g'i’ye.  Then  it  is  only  Ho'mas  was  together  in  and  Yix'a'qEmae.  Then 

said  ” house 

lae  la'meLetsEiix  lax  Ts’a'wate.  Ladae  xoa'naL’edExdaox  qa  s le  lax 

it  is  it  was  time  to  in  Ts’a'wate.  Then  they  prepared  that  he  went  to 

said  enter 


Ts’a'wate. 

Ts’a'wate. 

se'x’uit. 


Laa'm  k’oe'lats’exsde  Xo'masa  ses  L’a'qoa. 

Then  he  wanted  to  give  XTo'mas  with  copper, 
a feast  his 


La'xdaox  lae 

There  they  it  is 
said 


Laa'm  lawis  ha'lianbala  lax  L’a'qoaxstElis.  Laa'mlae 


paddled.  Then  it  is  said  they  stopped  at  ‘ Copper  under  rock.’  Then  it  is 

said 


t’a't’etsa  qa  s t’e'sEliL.  Ladae  wax*  ladoL  a'xa  t’e'sEm  qa  s la/xse 

they  wanted  for  stone  in  house.  Then  it  is  try  they  got  that  stone  for  it  to  take 
to  take  the  said  into 

stone  canoe 

20  qa  s les  lax  Ts’a'wate.  Ladae  we'Ldaoxs.  A'Em  la  we'sla  La'ts’Ex- 

for  to  go  to  Ts’a'wate.  Then  it  is  they  were  not  Only  he  then  he  put  un- 

said strong  enough. 


THE  KWAKIUTL  INDIANS. 


675 


stelesa  sa  L’a.'qoa  la'xa  tfe'sEm.  He'imis  a/Em  la  Le'qEm  sa  t’e'sEme 

der  it  of  the  copper  to  the  stone.  That  is  only  is  thename  of  the  stone 

L’a/qoaxstElis.  Laa'm  ne'k-ixs  la'Laaxa  xa  t’e'sEm  qa  es  lae'nae 

‘Copper under  rock.’  Then  he  said  he  got  the  stone  for  his  going 

o'?mayugui'la  sa  L’a/qoa  laq.  La'lae  la/g-aa  lax  Ts’a'wate.  Laa'm 

payment  made  of  the  copper  there.  Then  it  is  he  arrived  at  Ts’a'wate.  Then 

said 

se'k*’aqanonox  ses  L’a'qoaxstala  se'k-’aqano,  atsEta/laxsela  se'k-aq’ano. 

having  his  staff  his  copper  on  top  staff,  hand  on  top  also  staff. 

Laa'm  k’ul'las’it  xa  q?e'nEme  le'lqoalaLaya.  Laa'm  L’a'yu  xes  Le'qEm. 

Then  he  gave  a the  to  many  tribes.  Then  he  his  name, 

feast  changed 

Laa'm  lae  Kua'xdlanokumex*La,  L’a'qoag-ilaqEmeXLa/lae  Lawu'l- 

Then  it  is  ‘ Having  smoke  ’ on  him , ‘ Copper  maker  face  ' on  him  his 

said 

qamayas.  Ts’a/maXLa'  lat’a  nEmo'kue  xono's.  Laa'm  wi'la. 

successor.  * Giving  in  the  morning  ’ 1 but  one  his  second  That  is  all. 

child. 

[To  page  384.] 

O’MAXT’A'LALE. 

G’oaai's  lae  da  ts’e'kumElkulaxTE'ng*is.  Ladaela'wodaxestsVkumL. 

Sitting  on  it  is  the  bird  headdress  at  TE'ng-is.  Then  it  is  he  took  it  his  bird  mask, 
the  beach  said  said 

Wa!  laa'm  lawodeL  xes  ts’e'kumL,  laa'm  Le'qades  NEmo'guis.  Lae 

Wa!  then  hetookitoff  his  bird  mask,  then  his  name  N’Emo'guis.  Then 

ba'xus’it.  La’lae  Le'x’uit  qa  s le  ma/’walax  K-’a'qa.  Laa'm  xu'ngua- 

lie  became  a Then  it  is  he  moved  that  he  went  carrying  to  K>’a'qa.  Then  he  had  a 
natural  man  said  goods  in 

canoe 

dix’’it  es  0’maxt’a/laLeg*ilaku.  Ha/’loLts’alaal  q’oa'x’ede  da  g-ina/nEme 

son  of  O'maxt’a'laLe  to  he.  Growing  fast  it  is  growing  the  child 

said 

xuno'k"  as  NEmo'guis.  La'lae  heiLats’ax-’ida,  laa'm  Lo'k’uemas’ida. 

the  son  of  NEmo'guis.  Then  it  is  he  became  a man,  then  he  grew  strong, 

said 

La'naXua  lae  qa's’it  la’wis  qule'e  Lo'LaVatsaxLa/lae  qule'ya  s O'maxt’- 

He  went  walked  with  his  uncle  Lo'La’watsa  on  him  it  is  the  uncle  of  O'maxt’- 

(his  name)  said 

a'laLeg-ilaku  qa  s le  kue'xa  xa  me'guat  lax  LEma'is  as  Tsa'xis.  A’ma 

a'laLe  to  he  that  he  went  clubbing  the  seals  at  the  beach  of  Tsa'xis,  Only 

wisLa  lae  a'wag-ilisEla  kue'xa  lax  LEma'is  as  Tsa'xis  la'xa  me'guat. 

there  it  is  walking  to  and  fro  clubbing  at  the  beach  of  Tsa'xis  at  the  seals, 
said  on  the  beach 

“Ade',”  ue'x-lata  XEmo'guis  laxis  ts’a'ye  Lo'La’watsa ; “Soa/LEla  sEns 

“Friend,”  he  said  NEmo'guis  to  his  younger  Lo'La’watsa;  do  not  us 

"brother  let 

hequa'le  ya'wix*’idag*a  x-ins  qa  ya'yats’e  SEns  xuno'kuex.”  Lae 

go  on  in  this  let  us  act  us  to  go  on  the  our  son  this.”  Then 

way  sea 

awulX’etEx  ya'nEma  ses  xuno'ku  xes  kuexa'nEme  da  q’a'sa  t;o  me'guat 

he  desired  more  game  of  his  son  his  what  he  clubbed  the  sea  and  seal 

otter 

la'xa  LEma'is  as  Tsa'xis  qa  laxlak-ala  g*eLtsox  la'xa  da  maa'mk*ala. 

at  the  beach  of  Tsa'xis  to  go  repeatedly  for  him  to  the  the  islands. 

La'lae  XEmo'guis  i;Ewis  ts’a/ya  k’u'mElts’ot  xa  welk11.  La'lae  laE'lx- 

Thenitis  NEmo'guis  and  his  younger  burnt  inside  the  cedar.  Then  it  is  they  burnt 

said  brother  said 


1 

5 

10 

15 

20 


1 Sun  giving  light  to  the  world  in  the  morning. 


676 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


1 bEnt  xes  Le'qa.  Ladae  Soa'LamasEq,  lae  wi'uxstEndaq  xes  Le'qa 

the  his  canoe  Then  it  is  they  finished,  then  they  launched  it  his  the  canoe 
ends  they  were  said  they  were 

building.  building. 

is  xono'ku.  La/lae  mE'ns’aLa’yode  da  g-ina/nEmas  is  ale'wats’eL 

of  son.  Then  he  tried  it  on  the  the  his  child  of  hunting  canoe 

the  water  the  (future) 

lax  Watso'lis.  XEma'L’etbido.  Lat’exs  g-a/xae  ne'naku  lae  qo'tfama/s 

at  Deer  Island.  He  was  angry  a little.  He  came  home  it  is  full  he  made 

said 

xes  Xua'k’una  yisa  q’a/sa  iEwa  me'guat.  Xua/Xuilaqat’a'la  amlaa'e 

his  canoe  those  sea  ot-  and  seals.  He  continued  to  go  out  it  is  said 

ters 

5 da  gdna/nEme  xox  ne'dialax.  Laa'rn  q’ayo'L  xa  q’a'sa  iEwa  me'guat. 

the  child  the  every  day.  Then  much  the  sea  ot-  and  seals. 

>.  ' ters 

“Do'qoaLag-a.,  ade'  qEns  gu'ng-ilisalag-i  q’a/q’oL’aLEla  xox  wa/xaasaq’a 

“Look,  friend,  we  will  try  to  discover  the  how  many 

sEns  g-o'Lg-okulo'ta  qa  la'lag-iLtse  Le'lalasot.  La/lae  se'x’uide  ts’a/yes 

our  tribes  that  some  one  go  to  invite  them.  Then  it  is  he  paddled  his  younger 

said  brother 

yix  L’o'Lawas.  LaL  lax  La’la'te  Le'la  lax  Hai'alik-auwae.  G*a/xlae 

that  L’o'Lawas.  He  to  La’la'te  to  in-  at  Hai'alik-auwae  He  came 

will  go  vite 

lax  Qag-’axstE'ls,  Le'la  lax  Ma'tagdda.  G-a'xlae  lax  G-’o'taqa’la  Lela 

to  Qag-’axstE'ls,  he  in-  at  Ma'tag-i’la.  He  came  to  G-’o'taqa’la  he  in- 
vited vited 

10  lax  Lau'itsis,  L’a/xLaqoaXLe  lae  da  bEgua/nEm.  G*a'xlae  lax  Se'lats’e 

at  Lau'itsis,  L’a'xLaqoa  on  him  it  is  the  man.  He  came  to  Se'lats’e 

said 

qa  s Le'la  lax  Ma/leleqala.  G*a/xlae  Le'qolis  lax  La/L’aqdixLa.  La/lae 

that  he  invite  at  Ma/leleqala.  He  came  moving  to  La'L’aq’uxLa.  Then 

Le'la  lax  Ts’e'nx*q’aio.  G*a'xlae  lax  Ta'yaxqoL  qa  s Le'la  lax  La/lax- 

he  in-  at  Ts’E'nx’q’aio.  He  came  to  Ta'yaxqoL  that  he  invite  at  La'lax- 

vited 

sent’ aid.  La/lae  L’a'Stala'xa  g-okula  lax  Q’o'quet’axsta’yo  qa  s Le'lale’x 

sEnt’aio.  Then  he  went  to  the  town  at  Deer  Island  that  he  invite 

out 

Wa/xap’alaso.  Ladae  nEdbEut  lax  A’g-iwadaa' qa  s Le'lale’x  Xu'mas. 

Wa'xap’alaso.  Then  he  went  up  to  A'g-iwa’la  that  he  invite  Nu'mas. 

the  river  to 
a point 

15  Lalae  DE'lg-iLe  qa  s le  lax  LiXsi'wae.  Ladae  Lela  lax  Sa/g-i’ye. 

Then  he  went  up  that  he  go  to  LiXsi'wae.  Then  he  in-  at  S&'g-i’ye. 

the  river  on  vited 

the  water 

G*a'xlae  lax  XutsEtsa'lis  qa  s Le'lalex  YiXa'qEmae;  la/lae  laxnE'lk*7- 

He  came  to  XutsEtsa'lis  that  he  invite  YiXa'qEmae;  then  at  theright 

utas  LiXsi'wae  qa  s Ledalex  SE'nLae.  Ladae  se'x’uit  qa  s le  lax  O's’Eq 

side  of  LiXsi'wae  that  he  invite  SE'nLae.  Then  he  pad-  that  he  went  to  O's’Eq 

the  riv-  died 

er  of 

qa  s Ledale’x  He'ilikdna'kula;  ladae  lax  XadaxLala  axas  Ts’a'wate 

that  he  invite  He'ilikina'kula;  then  at  Xa'laxLaia  near  Ts’a'wate 

a/waxsta’yas  qa  s Le'lale’x  Ya'xLEn. 

mouth  of  inlet  that  he  invite  Ya'xLEn. 

20  Laa'm  la'La  xono'kuas  NEmo'guis  ya'la  kue'xa  ale'Xua  qa  Le'laiiEmLa 

Then  he  was  the  child  of  XEmo'guis  always  clubbing  sealing  for  guests  (future) 
going  with  the 

spear 

sis  omp.  Laa'm  la'La  qau't’a  g*o'ku  ase  xa  q’a'sa  Xoa  na'Xua 

of  father.  Then  he  was  full  house  bis  the  sea  otters  the  all 

bis  going 


THE  KWAKIUTL  INDIANS. 


677 


Xahai'p’om  qa  nEX’u'ne  sa  g-ale. 


furs 


of 

the 


Hai'Ern  q’a'q’anoLe. 

That  was  sewed  together. 


lae 

it  is 
said 


na'le 

day 

Le'lanEm. 

guests. 


g-a'xtEmasa  le'lqolaLae  qap’e'x-’it. 

they  came  tribes  gathered. 


La'lae 


XE'mxsaEm 

One 

La'lelala  xes 

his 


Then  it  is  his  invitation 
said  met  them 


La'lae 

Then  it  is 
said 


ye'’qumag*aliLa 

he  distributed 


xa  me'guate 

the  seals 


laxis 

to  his 


Le'lanEm. 

guests. 


La'lae  q’a'g*a’lelEm  nee  yaai'qoemaLa  sa  g’I'gbqamaye. 

and  their  gifts  of  chiefs. 

the 


Then  it  is 
said 


he  gave  them 
their  seats 


Laa'm  ga'qela 

Then  he  kept 
for  them 


Le  NEmo'gmsa  sa  haq’oa'yu.  La'lae  sa  ts’e'koayu  lax  gd'qEma’ya  sa 

XEmo'guis  of  belly  part.  Then  it  is  of  hind  legs  to  chief 

the 


Then  it  is  of 
said  the 


nE'msqEmakue 

other  one 


le'lqolaLa. 

tribe. 


La'lae  sa  qE'lq’ayu 

flippers 


Then  it  is 
said 


of 

the 


of 
the 

lax  gue'LEle  sa 

to  second  rank  of 
the 


••i'qEma’ya.  Laam  la  Le  da  o'guida’ya  sa  me'guat  la'xa  bEgua'nEm 


fu-  the 
ture 


q’a'laam. 


Wa! 

Wii! 


Laa'm 

Then 


g*a'la 

first 


body 

xa 

the 


of 

the 

g-I'laL 

made 


qa 

for 


ia/riaXiime  sa 

standing  first 


iia'Liia’mema7s. 

clans. 


of 
the 

La'lae  da'x-’id  xa  haq’oa'yu  qa  s ya'X’uidEs  la/xa 

lie  took  the  belly  part  that  he 


give  it 


to  the 


who  passed  it  to  the 
guests  in  the  house. 


Then  it  is 
said 

Laa'm 

Then 


Then  it  is 
said 

kue'kn.  La/lae  q’ix-’I'da  laq  qa  s ts’owe' s la'xa  ts’a'ts’owe’meL.  HaiEl  10 

eagle  Then  he  hit  off  there  that  he  gave  it  to 

(highest  those 

chief). 

qoe'gu’laEl  q’oa'Lxo  a'mlae  q’ixu'de  na'Xua  xes  ya/X’uidayu. 

he  did  every  it  is  said  he  bit  all  his  what  he  gave. 

Le'qades  Wa'las  XEmo'guis.  Laa'm  xaa/wis  Le'x’et  xes  Lawu'lyama’ya, 

his  name  Wa'las  XEmo'guis.  Then  also  he  named  his  successor. 

laa'm  O’maxt’a'laLeXLa.  La/’lae  yaX’uitsa  q’a/q’enuL.  Laa'm  lae 

then  it  O’maxt’a'laLe  on  Then  it  is  he  distributed  sewed  Then  it  is 

Avas  him.  said  together  (fur  said 

blankets). 

na'LnEmemaxElax  t’exu'la  qa  t’ex-i'la  sa  a'La  bEgua'nEm.  Laa'm 

the  clans  making  for  road  (law)  of  later  men.  Then 

road  (law) 

xak-’e'da  wao'kwe  Le'lanEms.  Laa'm  g*o'kulodadas.  15 

they  stayed  some  his  guests.  Then  they  became  his 

tribe. 

“ LamEn  laL  qoa'qoesg-iLts’a'LaL,”  ne'x-lae  O’maxt’a/laLa  xis  omp. 

“I  go  shall  go  farther  this  time,”  said  O’maxt’a'laLe  to  his  father. 

uK*’esLEs  na'nuXLOL.  La  mawe'sLaLEn  la’stex’I'deL.”  “Ha'g-a!” 

“Xot  you  shall  you  expect  me  I will  go  first 

La'lae  qa's’ide  O’maxt’a'laLaya  xa  qaa'la. 

Then  it  is  he  walked  O’maxt’a'laLe  the  morning, 

said 

wuLa’x’aLEla  xa  k*’imL’ala.  La'lae  O’maxt’a'laLae  do'x’uaLEla  xa 

he  heard  the  sound  of  adz-  Then  it  is  O’maxt’a'laLe  saw  the 

ing.  said 

q’o  s wap.  La'lae  k’ua/g*aals  qa  s xo'setete  laq.  G*a'xlae  nE'Xua1- 20 

a of  water.  Then  it  is  he  sat  down  that  he  bathed  there.  It  came  the  sound 

pond  said 

xstix*’I'de  da  k*’i'mLala.  La'la’xaa  qa's’ide  O’maxt’a'laLe  laa  laxaas 

came  nearer  the  sound  of  adz-  Then  again  walked  O’maxt’a'laLe  then  it 

ing. 


I will  go  to  bathe.”  “Goon!” 

Laa'm  la'wis  xo'sit’et  lae 

Then  it  is  said  he  bathed  it  is 
said 


678 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


1 qoe'sa’xstix-’ide  da  k-’i/mLala.  La'la’xaa  iiEqElsa'  xa  wap  qa  s 

far  went  the  sound  the  sound  of  adz-  Then  again  he  reached  the  water  that  he 
ing. 

xo'set’ite.  Oa/xlae  nEXuaxstix-’ide  da  k-’i'mLala.  La/lae  qa/s’it. 

bathed.  It  came  the  sound  came  the  sound  of  adz-  Then  it  is  he 

nearer  ing.  said  walked. 

La'la’xaa  qoe'sa’xstanakule  da  k-’i'mLala.  La'la’xaa  q’a'xa  wap  qa  s 

Then  again  far  sound  moved  the  sound  of  adz-  Then  again  he  found  wa-  that  he 

ing.  ter 

xo'sid’ete  laq.  Oa/xlae  da  k-’i'mLala  nExua'Labeda’.  La/lae  qa's’ide 

bathed  there.  It  came  the  sound  of  adz-  near  a little.  Then  he  walked 

ing 

■5  O’maxt’a'laLaya.  Lalae  do'x’uaLEla  xa  g-a/’lo.  G-’oa/xtso’sa  bEgua'- 

O’maxt’a'laLe.  Then  he  beheld  the  canoe.  He  was  sitting  a 

in  the  canoe 

nEm  k-’i'mLaq,  k-a/deg-o’ls  xa  ma/sto  noa  se'wayo  maLtsE'ma. 

man  adzing.  It  lay  in  the  how  the  harpoon  and  paddles  two. 

of  the  canoe  the 

A'Emlawise  O’maxt’a'laLae  La'wap’Elsa  xa  bEgwa/nem.  Hai'malaxoL 

Only  -d’maxt’a'laLe  stood  behind  the  man.  That  had  been 

him 


ma'g-ag-uXLe.  La'lae  O’maxt’a'laLae  ya'q’eg-aL ! ” Qe'Lak-asla  xg-in 

grouse  on  him  Then  it  is  O’maxt’a'laLe  spoke:  “Thank  you  that  I 

(his  name).  said 

no'kualeL  g-axs  ya'lag-iltsewa/qos^  qast!”  A'Emlawise  da  ma'g-ag-u 


found  a magic-  this  your  work  on  the  ground,  friend ! ” 
al  treasure 

lOdo'x’uedax  O’maxt’a'laLae,  la'lae  x-is’e'da. 

looked  at  O’maxt’a'laLe,  then  he  disap- 

peared. 


Only  the  grouse 

Laam  no'kuale  O’maxt’a/- 

Then  he  found  a O’maxt’a'- 
magical  treasure 


laLaya  xa  g-a'’lo  iEwa  ma'sto  ho  se'wayo. 

laLe  the  canoe  and  the  harpoon  and  paddles. 

La/lae  ax’a'Laxsa  xes  ga'nk-iii  q’alqu.  Ma’Ltsa  laamlae  nawis  q’ule/e 

Then  it  is  he  put  into  his  nettle  line.  Two  only  then  it  is  and  uncle 

said  the  canoe  said  his 

L’o'L’awatse.  Laam  la'k-’otesL.  La/lae  La/sqEmdax  Sa/lots’a.  La/lae 

L’o'L’awatse.  Then  he  went  across.  Then  it  is  he  aimed  at  Xoomas  Then  it  is 

said  (steered  for)  Island.  said 

do'x’uaLEla  xa  sio'’nakula  g-eg-ilaal  lax  Yaai'Xugiwanu.  Laa'm 


he  beheld  the  paddling  canoe  started  it  is  form  Yaai'Xugiwanu.  Then 

from  said 


15  k-i'mqaunakula  Le’we  lax  Sa'lots’E.  La'lae  qE'lqEpox’uit.  “ Qe'lak-asla 

they  met  and  at  Sa'lots’E.  Then  it  is  each  held  the  sides  “Thank you 

said  of  the  other’s  canoe. 

nEmuO't,”  ne'x-lae  O’maxt’a/laLa  yax  Qa/watiliqala.  “K-’e'sEn 

brother,”  said  O’maxt’a'laLe  to  that  Qa'watilEqala.  “Not  I 

wule  la'g-iLa,”  ne'x-lae  O’maxt’a'laLa.  “Ia'laqEmEn  La  seh  O'rnpe  qEn 

nothing  on  account  of,”  said  O’maxt’a'laLe.  “I  am  sent  by  my  father  that  I 

g-a'xeloL  qaxs  he'x-aene  ma/’laos  he'LO  lax  qEg-a'taas.”  aQe'lag-a!” 


come  to  you  for  you  the  only  one  what  you  right  from  to  take  a wife.”  “Come!” 

ne'x-lata  Qa'watilEqala  lax  O’maxt’a'laLe  qan  la/lag-i  se'wikElOL 

said  Qa'watilEqala  to  O’maxt’a'laLe  that  I go  you  paddle  be- 

hind me 


20  qa  s la'os  la'xEn  g-o'kua.”  “La'lax-i'  g-in  q’a'luXde  g-in  Iol  nE'muot.’’ 

that  you  go  to  my  house.”  “Go  this  my  harpoon  line  my  to  brother,” 

past  you, 

ne'x-lae  O’maxt’a'laLa  yix  Qa'watilEqala.  “Yi'xa  gu'nk-’in  q’a'lkoa 

said  O’maxt’a'laLe  to  Qa'watilEqala.  “That  my  nettle  line 

bark 

nawis  ma'stuXde  nawis  Le'wiXde.”  La/lae  Qa'watilEqala  au'guaqa 

and  his  harpoon  past  and  his  mat  past.”  Then  Qa'watilEqala  also 


THE  KWAKIUTL  INDIANS. 


679 


la  sis  k*’ilx*I'waX7unXde  q?Elku  la'xis  nE'muot.  A'amlawis  la  La'yap’a  1 

went  his  leather  line  past  line  to  his  brother.  Only  it  is  said  they  exchanged 

sis  ale'wats’eXde.  Wi'laam  la  g*I'g*axsax  ya'yats’ix*des.  “Hetsa'- 

their  hunting  canoes  past.  Everything  things  in  the  canoes  which  they  “ Let  us 

canoe  had  used. 

x*ins  qoa/qoaeaqanoX  g*o'kue  hai'me  da  kua'x-ilas,”  nex-lae  O’max- 

go  go  hack  us  house  there  the  smoking,”  said  O’max- 

t’a/laLe.  “-Qoa'la,”  ne'x-lat’a  Qa'watilEqala  “hai'Emaxdns  Soa'goae- 

t’a'laLe.  “Don’t,”  said  hut  Qa'watilEqala  “we  will  goon 

aqan  g-o'kuu.  La'maaqos  ne'x*ses  wa'LdEmos  xes  g*a/ya/laenayos.”  5 

my  my  house.  Then  you  you  said  your  word  its  you  want  to  be 

engaged.” 

La/lae  se'x’uit  liama’Lts’aqala  g-iLeXdaox.  La/lae  lax  siolisa  xawa  lax 

Then  they  sido  by  side  together.  Then  to  lower  part  they  at 

paddled  of  river  were 

Gua'e.  “A'EmLis  ya'L’aLoL  nE'muot;  qenso  laeL  laxEn  g*o'kua. 

Gua'e.  “ Only  you  take  care,  brother;  when  we  enter  at  my  house. 

T’e'p’axLaXsItse  a7mLis  g*a'xEn;”  ne'xdae  Qa'watilEqala  xis  nE'muot. 

Follow  on  my  heels  only  me,”  said  Qa'watilEqala  to  brother. 

his 

La/lae  ne'Lasexs  ia'xsamae  t’exd'le  sis  g*ok11  la'xis  nE'muot.  La/lae  10 

Then  he  told  its  badness  the  door  of  his  house  to  his  brother.  Then  it  is 

said 

ho'x’usdes  qa  s le  la'xa  t’ex-i'la.  La/lae  a'qalse  da  qoa/wina.  La'lae 

they  walked  that  they  go  to  the  door.  Then  it  is  it  opened  the  raven.  Then  it  is 
together  said  on  the  said 

ground 

dawe'Le  da  nE'inuotala.  La'lae  k-i'mq’ag-aLe  da  qoa/wina  t’6x*i'l€>s 

they  jumped  the  brothers.  Then  it  is  it  snapped  the  raven  its  door 

said 

g-o'kuas  Qa'watilEqala.  Xa'Xua Em  la'La  q’oeq’ulalag-illLe  k-’e'k-’akua 

his  house  Qa'watilEqala.  All  it  is  said  alive  in  the  house  carvings 

sa  g-o'kuas  Qa'watilEqala.  Q’oe'q’ulalae  da  ia'me,  si'siuL  lae  da 

of  his  house  Qa'watilEqala.  Alive  the  posts,  si'siuL,  it  is  the 

said 

k*a'tewae.  Laa'm  qig-a/tix-ides  Wi'lx-stasllayuqoa  xono'kuas  Qa'wati- 

beams.  Then  he  was  married  to  Wi'lx-stasllayuqoa  his  child  Qa'wati- 

lEqala. Wa!  laa'm  g-o'ku’lxLaylt  da  g-o'kue  ncEwa  k-’e'k-’es’o  LEwal5 

lEqala’s.  Wa!  then  the  house  was  given  the  house  and  the  carvings  and 

to  him  in  marriage 

na'xua  qa  s que'xstEm  xa  hama'ye  q’a'q’anoL  wa/lasx-e,  kue'kuxte, 

all  for  his  different  kinds  the  food  blankets  lynx,  marmot, 

na'LesqEm,  ma'tsasqEm,  ala'k-im.  Wa!  laa'm  g-ax  se'wodayu  ses 

wolverine,  mink,  dressed  elk.  Wa ! then  they  they  took  him  his 

skins  came  home 

nEgu'mp  Lawis  g-o'kulot.  Wa/wi’laxsa  amlae  g-a'xe  da  g-o'Xde. 

father-in-  and  his  tribe.  Everything  it  is  said  came  the  house  past 

law 

Laa'm  g-o'xwulsa  sa  g-o'kue  lax  K-?a'qa.  Hai'mis  la/g-lLs  K-a'qaXLe 

Then  he  built  a house  of  house  at  K-’a'qa.  Therefore  K-’a'qa  on  it 

on  the  ground  the  (its  name) 

da  awl'nak’uis  qaxs  la/’yoL  k-’a'xsestEndEx  K-’a'qa  qa  g-o'kweatsa  20 

the  land  for  long  ago  logs  placed  all  around  K ’a'qa  for  place  of  house 

g-o'kulXLeXde.  Laa'm  Le'Ltse’stalisa O’maxt’a'laLaya ses  qEg-a'dauEm 

house  obtained  in  Then  he  invited  all  O’maxt’a'laLe  with  what  be  had  re- 
marriage. around  his  ceived  from  his  wife 

la'xa  g-a'le  le'lqolaLe. 

to  the  first  tribes. 


680 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


[To  page  406.] 

HO'XKOK>. 

1 Xe'sa  lae  da  ts’e'daq  lax  Yu'Laye  xa  ts7a/k*us. 

ien  at  Yu'Le  the  fern  root. 


Pullout  it  is  the 
said 

mu'mXsEmak11. 

dried  whale  meat. 


Ladae  ts’ExLada  xa 

Then  it  is  they  put  it  the 
said  over  the  fire 


lae  da  o'qoane. 

it  is  the  owls, 
said 


G-a'xlae  da  o'qoane  xa'pa  xa  mu'mXsEm  xa  qVnEm 

They  came  the  owls  picking  the  dried  whale  the  many 
np  meat 

La/lae  do'x’oaLEla  xa  ho'xhok".  G*ax  g’ua/xtot  xa 

Then  it  is  they  discovered  the  ho'xhok".  It  came  sitting  on  the 

said  top 

Los;  g-a/xlae  ba’nuLEla  i;E'nLa  xa  o'gwene  sa  wilku.  G*a'xlae  lax 

tree;  it  it  is  downward  pecking  the  trunk  of  cedar.  It  it  is  at 

came  said  the  came  said 

5oxLa'ya  sa  wilk".  Lae  waxLa/x’urax'dde  da  ho'Xhok"  lexoa  xes 

butt  of  the  cedar.  Then  it  found  it  difficult  the  ho'Xhok"  for  its 

xd'ndzas.  La/lae  qa/s’ide  da  ho'Xhok11  qa  s le'  laxa  ts’e'dax. 

beak.  Then  itis  it  walked  the  ho'Xhok"  that  he  went  to  the  women, 

said 

Xa'wiLbe  lat’e  da  ho'xhok",  la  bEgua'nemxs  g-a/xae  la'xa  ts’e'daq. 


but  the  ho'Xhok", 


It  covered  its 
nose 

La/lae  axLEnde  sa 

Then  itis  they  put  of  the 

said  on  fire 


mo'mXsEm.  Ladae 


dried  whale 
meat. 


Then  it  is 
said 


Ladae  g-etsu'dE  sa  mo'mXsEm  la'xa  Le'wae. 

Then  it  is  they  put  on  of  dried  whale  on  the  mat. 
to  it 


of 

the 


dried  whale 
meat. 

10  ho'xhok":  “K-’e'sEn  ka/dnapa 

ho'xhok":  “Not  I eat 

ha’ma'yuX  da  LE'qoax  sa 

food  the  brain  of  the 


he  came  to  the  women. 

Lipa'mleLa  sa  Le'wae. 

they  put  it  of  the  meat, 
before  him  • 

Ladae  ya/q?eg-aLe  da 

Then  itis  he  spoke  the 
said 

Xoa  me'mXsEmeX.  Yu/den 

the  dried  whale  meat.  This  my 

bEgua/nEmex.”  A'Emlae  ne'k*  da 

men.”  Only  it  is  he  said  the 


ho'Xhok",  ladae  LE'nL’ide  da  ho'Xhokua  xa 

ho'Xhok",  then  it  is  he  pecked  the  ho'Xhok"  the 
said 

latfe'da  wu'nx'dde.  G-ax  ne'nak1 

but  hid.  She  home 

came 


qa  s 

that  she 


said 

ts’e'daxde. 

women  past. 

ts’Ek*?a/Lales. 

reported. 


XEmo'k" 

One 

Ladae  da 

the 


Xaqo'mgdlisala 

Naqo'mg-ilisala 


nek* 

said 


qa 


le  wi'na  xa 


that  they  went  to  make  war  the 
. upon 

15  Q’o'mk*ustals  t;o  Wa'xalalaa  ax’e'ida  xa 


Then  it  is 
said 

ho'Xhok"* 

ho'Xhok". 


Ladae 


Q’o'mk'ustdls 

s kwa/s’iaes. 

they  washed. 

ts’e'daqde. 

women  past. 


and  Wa'xalalaa 

Ladae  wi'na 

Then  it  is  they 

said  made  war 
upon 

Ladae  la/xLala 


took 


the 


ho'Xliok". 

ho'Xliok". 


Then  it  is 
said 

e'd’Ein  sa 

menstrual  of 
blood  the 

Ladae  lax  ax’a/sde  sa 


ts’eda'q  qa 

woman  that 


Then  it  is 
said 


they  went  to  the  of 
place  the 


sa  momXsEm.  G-a'xlae  da  o'qoane. 


Then  it  is 
said 


they  put 
over  fire 


of 

the 


dried  whale 
meat. 


They  it  is  the 
came  said 


Ladae  do'x’oaLEla  xa  ho'Xhokuaxs  g-a'xae  g’ua'xtut  xa 

they  discovered  the.  hd'Xhoku  came  sat  on  top  the 


Then  it  is 
said 

G-a'xlae  ba’noLEla  'iE'mEL’ane 

It  came  it  is  downward  pecking 

said 

20  Ladae  xak*’a'  x-i’ndzasdes  laq. 

Then  it  is  it  its  nose  past  there, 

said  jammed 


xa 

the 


wi'lkoe. 

cedar. 


Ladae 

Then  it  is 
said 


laxa 

to  the 


widkue. 

cedar. 

o'xLae. 

butt  of  the 
tree. 


Ladae  dzE'lX’uide  QVink-ustals  to 

Then  it  is  they  ran  Q’O'mk’ustdls  and 

said 


THE  KWAKIUTL  INDIANS. 


681 


Wa'xalalaa  qa  s kue'x’idex  x-i'ndzasdes.  Laa'm  k-o'x’uide  x-i'n-  1 

Wa'xalalaa  that  it  struck  its  nose  past.  Then  it  broke  its  nose 

dzasdes.  G-a/xlae  La'XLandes  la/xa  la'q’us.  Laa'm  La'la. 

past.  They  it  is  pushing  it  into  into  the  fire.  Then  it  was 


came  said 


dead. 


[To  page  408.] 
THE  GHOSTS. 


G-o'kula  lae  K’oa'La  iawis  sa'sEm  la'xa  ai'k-’e  awknakuisa.  He'iEm 

Living  in  it  is  K’oa'La  and  his  children  at  the  above  country.  That  was 

a house  said 

xono'Xse  yix  Q’o'masdaX  xa  no'la,  he'mise  Haia'qolaL  ma'k-ilax  lo 

his  son  that  Q’d'masdaX  the  eldest,  that  Haia'qolaL  next  one  and 

Nolak-as  he'imisLa  A'nqolak-as.  La'lae  hayutala  io  Ts’klqoaloLEla  5 

No'lak-as  and  that  one  A'nqolak-as.  Then  it  is  they  were  and  Ts’i'lqoaloLEla 

said  rivals 

he'imis  sa'sEmse  Se'paxis  lo  Ya/q’EntEmaye  io  G-e'xdEn.  La'lae 

that  his  children  Se'paxis  and  Ya'q’EntEinaye  and  G'5'xdEn.  Then  it  is 

said 

Ts’i'lqoaloLEla  nek-  qa  s g-a'xe  la'xoa  bane'x  awknakuisa.  La'lae 

Ts’i'lqoaloLEla  said  to  come  to  the  lower  world.  Then  it  is 

said 

e'axEla  xa  La/qoak-En  laa'm  t’ex-i'LdEng-iiax  qa  s SE'lbEL’anesb  iEwis 

using  the  copper  post  that  was  making  a ladder  to  climb  down  and  his 

sa'sEin.  La'lae  ne'k-  qa  s haLa'qasewi  ses  bayo't.  La'lae  q’a'lalaelO 

children.  Then  it  is  said  to  be  played  with  by  his  rival.  Then  it  is  he  it  is 

said  said  knew  said 

K’oa'Lax  wa'LdEmas  Ts’i'lqoaloLEla.  La'lae  qa's’ide  K’oa'La.  La'lae 

K’oa'Lax  his  word  Ts’i'lqoaloLEla.  Then  it  is  he  walked  K’oa'La.  Then  it  is 

said  said 

mo'p’EnXnas  qa'sa.  La'lae  do'X’oaLEla  xa  neg-a'  qoa'xanakula 

four  days  he  Then  it  is  he  discovered  the  mountain  growing 

walked.  said 

g-e'x-’it  la'xoa  ba’nex  awl'nakuis.  La'naXua  lats’o't  xans  ai'k-’e 

from  the  lower  world.  Going  some-  reaching  our  upper 

times 

awl'nakuis.  La'lae  ne'nak11  qa  s ne'iLe  xes  sa'sEm.  He'ix-’ida  am 

world.  Then  it  is  went  to  tell  his  children.  Right  away 

said  home 

lawis  xoa'naL’e  da  iawis  sa'sEm.  G-a/xlae  la'xes  ax’a'sde  k-’e'slat’a 

it  is  they  prepared  and  his  children.  They  came  to  the  place  not  however 

said  (past) 

qa'Laxs  g-a'xae  da  nEg-a'  ai'k-’oLEla  e'it’et  da  g-i'l’Em  lawis  ladzo'tl5 

long  came  -the  mountain  upward  again  the  as  soon  it  is  it  reached 

said 

xEns  na/lax.  Lae  K’oa'La  nek-  xes  sa'sEm:  “K-’e'sLEn  la'sqameLdL. 

our  sky.  Then  K’oa'La  said  to  his  children:  “Not  I follow  you. 

Ha'g-a  laams  leguxLa/laLEx  Pepa'wiLenox.  A'Em  les  g-ax  na'XuaL 

Go  you  the  name  of  your  Pepa'wiLenox.  Only  you  come  sometimes 

tribe  will  be 

axLala  xEn  k-’e'k-’Es’ox,”  ne'x-lae  xes  sa'sem.  G-a'xlae  Q’o'masdaox 

take  my  carvings,”  he  said  it  is  to  his  children.  They  it  is  Q’o'masdaox 

said  came  said 

io  Ha'aqolaL  io  Xo'lak-as  ba'imise  A'nqolak-as.  G-a'xlae  la£20 

and  Ha'aqolaL  and  No'lak-as  also  A'nqolakas.  They  it  is  to 

came  said 

Q’oaLE'mtsis.  La'lae  qa's’ida  a'laXwa  la'xa  la'xes  a'Labfila- 

Q’oaLE'mtsis.  Then  it  is  they  looking  for  there  at  the  walking  in 

said  walked  a river 


682 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


le'nayalaal  lax  E'wala.  La'lae  q’a'xa  q;as  lax  awi'Lpa’yas  E'wala. 

tko  woods  at  E'wala.  Then  it  is  they  post  at  its  point  E'wala. 

said  found 

G*a'xlae  Q’o'masdox  q;o  Ha'aqolaL  ae'daa/qa.  La'lae  ma'n^a- 

He  it  is  Qo'masdox  and  Ha'aqolaL  coming  back.  Thenitis  keeping 

came  said  said 

LaxstalesEla'xs  g*a/xae  ne'nak11.  La'lae  la'g-aa  la/xa  otsa'lis. 

close  to  the  beach  came  home.  Thenitis  they  at  the  hay. 

said  arrived 

La'lae  la’axLa'lesaq.  La'lae  do'x’oaLEla  xa  koa'x-ila.  La/lae  la'g*aa 

Thenitis  going  to  its  head.  Thenitis  they  discovered  the  smoke.  Thenitis  they 

said  said  said  arrived 

51aq.  La/lae  laeL  la'xa  g*oku.  Ma’lok"  lat’e  da  ts’e'daq  ts’e'sa  xa 

there.  Then  it  is  they  at  the  house.  Two  how-  the  women  roasting  the 

said  entered  ever 

g'a/weq’anEm.  La/lae  ya/q?eg*aaLe  Q’o'masdox  Ted  Ha'aqolaL.  WuLa' 

clams.  Then  it  is  they  spoke  Q o'masdox  and  Ha'aqolaL.  They 

said  asked 

xa  ts’e'daq  wes  g-e'x’ide.  Xe'Xso  lae  da  ts’e'daqas  Q’o'masdaox. 

the  women  where  they  came  They  were  it  is  the  women  by  Q’o'mosdaox. 

from.  toid  by  said 

La/lae  na'naxmaye  da  ts’e'daq:  “He'danuX  g-e'x-’ide  da  ai'k-’e 

Thenitis  they  replied  the  women:  “We  came  came  from  the  above 

said 

awl'nakuis.  K/’e'osimX  bEgaa'nEma.”  La'lae  ne'La  Q’o'masdax  la/xa 

world.  None  we  have  men.”  Then  it  is  said  Q’o'masdaox  to  the 

said 

lOts’e'daq:  “K-7eos  amxaanoX  ts’Eda/qa.  Wix*7idasexs  g*a/xaex  g*a'xa- 

women:  “Not  we  having  women.  How  did  you  come  when  you 

axa?’7  La/lae  ya'q’ag-aLe  Wi'yoleneqa;  heiEm  -re'qEm  sa  nEino'kue 

came  Then  it  is  she  spoke  troublesome  that  was  the  name  of  one 

down?”  said  woman;  the 

ts’Eda'q.  Wl'oLasogui7lakuLe  da  nEmo'kue:  u Hane'naXuanoX 

woman.  ‘ Making  tired  ’ on  the  other  one  : “ Bringing  us  ( ?) 

la/xa  nExa'q.  He'imis  g axtaot  g-a'xEnox  la'xoa.77  “ Qe'lag-a  qanoX 

to  the  geese.  That  brought  us  here.”  “Come  now  to  us 

qeg’a/daos.”  “ Mo'laxLalae  da  ts’e'daq  as  wa/LdEma  sa  nE’me'ma. 

to  be  our  wives.”  Glad  were  it  is  the  women  of  word  of  brothers. 

said  the  the 

15G*a/xlae  na'nadoxLe  da  nE'me'ma  i;awis  SaganE'm.  G-a'xlae. 

They  it  is  home  they  the  brothers.  with  wives.  They  it  is 

came  said  their  came  said. 

G-a/x’aLEla  lax  Q’oaLE'mdzis.  He'ix*7ida  am  lawis  bebEwe'X’ide  da 

They  came  to  to  QoaLE'mdzis.  At- once  it  is  said  they  were  with  the 

child 

ts’e'daq.  La'lae  ma'yiiL’ide  da  ts’e'daq.  La'lae  nce'x’ides  La'q’oasqEm. 

women.  Then  it  is  they  were  con-  the  women.  Then  it  is  they  named  La'q’oasqEm. 
said  fined  said  him 

Ha'labalaal  q’oa'x’et  da  g-ina/nEine.  La'lae  amLe  da  g-ing-ma/nEm  lax 

Quick  it  is  said  grew  the  child.  Then  it  is  played  the  children  at 

said 

wa'balisas  Q’oaLE'mdzTs.  La/lae  be'ode  La'q’oasqEm  lax  ogmi'qa’ya 

river  in  cor-  Q’oaLE'mdzis.  Then  it  is  he  fainted  La'q’oasqEm  at  that  side 
ner  of  said 

20  sa  wa\  He'x*’ida  ehi  lawis  la  ne'Le  xa  nEmo'kue  g'ina/nEmax 

of  river.  At  once  it  is  said  he  told  the  other  boy 

the  went 

Q’omasdaox.  G*a'xlae  Q’o'masdaox  do'x’uida  xes  xuno'Xde  a'la  am 

Q’o'masdabx.  He  came  it  is  Qb'masdadx  he  saw  his  child  past  really  it  is 

said 

lawis  LE'la.  He'x*’ida  am  lawis  wunEmt’e'dEq  xes  xono'Xde.  Laa'm 

said  dead.  At  once  it  is  said  he  buried  it  his  child  past.  Then 


THE  KWAKIUTL  INDIANS. 


683 


lawis  Sa'nuL’ida.  La'lae  da  g-ina'nEm  q’ula'x-’ida  qa  wi'x^ides  1 

it  is  said  it  grew  night.  Then  it  is  the  child  revived  to  unable  to  do 

said  anything 

qaxs  g-i'tsae  la/xa  xtsEm.  K*’eslada  qa/La  Sa/nuL  g*a/xae  wuLEla 

because  was  inside  in  the  box.  Not  then  long  dark  he  came  he  heard 

he 

xa  yaeq’Eiitale.  La/lae  axo'dax  yikwaya/ya  sa  dEk’a/ts’En.  He'ix-’ida 

the  talking.  Then  it  is  he  took  it  the  cover  of  grave.  At  once 

said  off  the 

am  lawis  Le'lalasawi  da  laXde  le 'la.  La'lae  qa/s’idayo  la/lae  la/xa 

it  is  said  he  was  called  the  one  who  had  dead.  Then  it  is  they  walked  then  to  the 
been  said  with  him 

Le'xk^ala.  La/lae  q’aq’a/qEmlasawi  da  g-ina/nEma  sa  yu'dokwe  5 

beating  of  Then  it  is  he  was  asked  to  be  careful  the  child  by  three 

boards.  said 

be'bEgwaiiEma  xa  lela'leuoxoaxoL.  La/lae  lae'L  la'xa  kue'xalatse, 

men  the  ghosts.  Then  it  is  they  at  the  dancing  house, 

said  entered 

k-’e'slata  la'g-oliL  la/xa  g*oku.  He/lae  g’oa/x-’ide  nEqo'yaliLa  sa 

not  how-  they  went  to  the  to  the  house.  There  they  sat  the  middle  of 

ever  rear  of  the  house  the 

heiLk^oda’iieSuiLa  sa  g*ok".  We'g-a  ya/Laxax  ne'Xsolae  La/q’oasqEm. 

right  side  of  house.  Go  on ! take  care  he  was  told  La'q’oasqEm. 

the 


Xa/XuaamLEs  a'xelana'kula  xes  do'dEguLos  LEwa  q’E'mq’EmdEm. 

Everything  you  will  keep  in  your  mind  your  what  will  be  seen  and  the  songs. 

by  you 

K-’e/s’EmLaxaa/wis  ba'mx-’ida  xa  ba'mg-ilayoLaloL.  ^aXoye  lae  da  10 

Not  then  you  eat  the  your  food.  He  stood  it  is  the 

said 

bEgua/nEm  da/la  xa  q’oe'ts’ayu.  La/lae  ya/q?eg*aLe  g-e'qama’ya  sa 

man  holding  the  rattle.  Then  it  is  he  spoke  the  chief  of 

said  the 

lesla'lenox,  Le'qadesHama/maxayals : li  G-*axtsWx'o  we'sax  la/g-ule'sa.” 


ghosts  his  name  Hama'maxayals : “Let  him  come  this  boy  to  the  rear  of 

the  house.” 

a-0oa/la,”  nek-lat’e  da  nEmo'kue  la/xa  yu'dukue  be'bEguanEm.  La'lae 

“Don’t,’  said  however  the  one  at  the  three  men. 


Then  it  is 
said 


Soa'L’aleLe 

he  finished 


da 

the 


t’E'msElaXde. 

dancing. 


La'lae 


Then  it  is 
said 

La/lae  Hama'maxayals  liaya/Lo  la/xis 

Then  it  is  Hama'maxayals  told  to  his 

said 

taau't  LExoa 

take  that 


o'dzaq’ale 

uneasy 

g-d'kuldt: 


da 

the 

“La’mEiis 

“Let  us 


g-ina/iiEm. 

boy. 

laLl5 


g'ma'nEmex 

this  bov 


la'xis  g-o'koa. 

to  his  house. 


La'lae  da  lesla/lenox 

Then  it  is  the  ghosts 

said 


ax’e'idaxap’alE'ms,  qa  s LExaxLalaXdaoxueq.  La'lae  o'guaqasawl  da 

took  the  moss  that  they  put  it  on  their  heads.  Then  it  is  also  it  was  done  the 

said 

g-ina/riEm  axaxLa/la  xa  p’alE'ms.  G-a/xlae  g’oa/g-aalse  da  g-ina/nEm 

boy  put  on  his  the  mess.  He  it  is  sitting  on  the  the  boy 

head  came  said  ground 

la/xoa  nd'saqEHS  awi'nak’uis.  Laa'mXdalaLa  ^e'xs’alasd  sa  pa'xala 

to  the  our  own  world.  He  was  already  told  to  take  care  by  shaman 

the 

yix  He'Lilalagdlis  qa  axe'ise  qa  kua/tse  qa  es  g'O'kulot,  la'lae20 

that  He'Lilalag’ilis  to  take  the  urine  for  his  tribe,  then  it  is 

said 

ha/mamaxe  awI'Estas  k’oae'tsasas.  La'lae  Q’o'masdaox  lewis  qEnE'm 

they  cried  all  around  to  wash  with.  Then  it  is  Q’o'masdaox  and  his  wife 
hamama  said 


684 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


1 ka’ma'p.  Lae  wuLax’aLEla  xa  ha/mamaxa/.  La'lae  dzi'lx-ewuls  laxis 

ate.  Then  he  heard  the  sound  hamama.  Then  it  is  they  ran  out  of 

said  hia 

g-oku  qa  s do'X’uideq.  He'Em  dox’oaLElatse  xes  xono'koaxs 

house  that  they  saw.  Him  they  discovered  his  his  son 

g’oasa'e  la/xa  awUnakuis.  La/lae  ne/La  xeis  qEnE'in.  G*a/xlae  qEnE'- 

sitting  on  on  the  ground.  Then  it  is  he  said  his  wife.  She  it  is  his 

the  ground  said  to  came  said 

mas  do'x’uidEq.  La/lae  maLt’eg-oaLEla  xes  Xono'k11.  He'x-’ida  am  lae 

wife  she  looked.  Then  it  is  they  recognized  their  child.  At  once  it  is  said 

said 

5q’ng-aL  La/q?oasqEm  xis  omp : u Ha'gva  ax’e'idax  k’ue'tsa,  qa  s xo'sEla 

shouted  La'q’oasqEm  to  father:  “Go  take  urine  that  you  sprinkle 

his 

laxs  g-o'kulotaq’os.  La'lae  dzi'lx^uide  Q’o'masdaox.  G*a/xlae  da/la  xa 

on  tribe.  Then  it  is  he  ran  Q’o'masdaox.  He  it  is  took  the 

your  said  came  said 

kua/ts’e.  WUla  am  lae  g-a/xe  g-o'kulotas.  G*a/xmaalaxoL  ne'LExstEls 

chamber.  All  it  is  said  came  his  tribe.  They  had  come  showing  their 

mouths 

na'xue  da  lesla'lenox.  Ga'l’Em  lawis  liai'aqe  da  wao'kue  be'bEguanEm 

all  the  ghosts.  As  soon  it  is  passed  the  some  men 

said 

lax  sE'ms  sa  le'lalenox,  lae  hama/maxe  da  le'lalenox.  He'x’Tda  am 

at  the  of  ghosts,  then  they  cried  the  ghosts.  At  once  it  is 

mouth  the  hamama 

10  lawis  Le'Lale  da  be'bEguanEmXde  xa  liai'aqa  xa  sE'msa  sa  le'lalenox. 

said  dead  the  men  past  the  passed  the  mouth  of  the  ghosts. 

La/lae  la  q’ug-a'Le  La/q’oasqEin,  xo's’idas  kua/tse  la/Xua 

Then  it  is  shouted  La'qoasqEm,  sprinkle  urine  on  the 

said 

be'bEguanEmex.  La/lae  he'guix'Tde.  He'x-’ida  am  lawis  S’ue'- 

men  Then  it  is  he  did  so.  At  once  it  is  said  they 

said 

S’ulax-’ide  da  LE'lXde.  G^a'xlae  laeL  lax  g-o'koa  ses  omp.  G-a/x7am 

recovered  the  dead  past.  He  it  is  entered  at  the  house  of  father.  He  it 
came  said  his  came 

lae  da  la/lenox  hS'k^ala  la/xa  g-o'kuas  o'mpas.  La/lae  ya/laqalae 

is  said  the  ghost  sounding  to  the  house  his  Then  it  is  he  sang  his 

of  father.  said  secret  song 

15  da  g-ina/nEmas  qVnq’Emdamas  s ' lela/lenox.  La/lae  dE'nxeg-ae  g-o'ku- 

tlie  boy  his  song  of  ghosts.  Then  it  is  they  sang  his 

the  said  with  him 

lotas.  Hai'Em  lawis  q’a/lag-iLax  q’E'mdEmas  lela/lenox.  We'g*a 

tribe.  That  is  it  is  they  learned  their  song  the  ghosts.  Goon! 

said 

ho'Lelax  q’E’mtEma  sa  g-ina/nEm.  Laa'm  i;e/qadEs  Ne'nLEqstals 

listen  to  the  song  of  boy.  Then  was  his  name  Xe'nLEqst&ls 

the 

la/xis  lElo'Lalalenaye.  K^eo's  k*?es  g*ax  la/xa  na/Xua  ts’e'qenaya 

at  the  Ghost  dance.  Xothing  not  came  to  the  all  dances 

qawa  k*7e/k’’as’o.  G*aam  q’a'mdEms  Xe'nLExstals  xa  gana/nEm: 

and  carvings.  This  is  his  song  Xe'nLExst&ls  the  boy: 

20  1.  Yaxamamai,  yaxamamai,  yaxamamai  ya. 

Taxamamai,  yaxamamai,  yaxamamai  ya. 

We'g-axos  wi'lgmstalisa  laxes  ek*’ats’elisax  na'la  yuL 

Go  on ! you  you  go  up  to  the  upper  country  day  your 

lelowaLanaXde. 

chief  of  ghosts  past. 


THE  KWAKIUTL  INDIANS. 


685 


2.  Yaxamamai,  yaxamamai,  yaxamamai  ya . 

Yaxamamai,  yaxamamai,  yaxamamai  ya. 

Ya  qa  wolasqEmlesLeis  yaiqesawiLos  yuL  leloaLanaXde. 

Ya,  to  heap  up  iu  ground  property  you  you  chief  of  ghosts  past. 

3.  Yaxamamai,  yaxamamai,  yaxamamai  ya. 

Yaxamamai,  yaxamamai,  yaxamamai  ya.  * 

Ya  qa  walasqoa'palestses  t’e'qoaLalaLos  gulta’yak-’asLos 

Ya  to  great  your  fire  great  you  stones  in  your  fire  fire  good  your 

le'loaLauaXde. 

chief  of  the  ghosts  past. 

[To  page  416.] 

LE'LAXA. — LA'LASIQOALA  DIALECT. 

BEgua'nEm  g*o'kula  lax  K*?ek*e'LEm.  La/lae  Lo'koala  wa'x-a. 

A man  lived  in  a at  K-’ek-e'LEm.  Then  it  is  finding  a super-  he  tried, 

house  said  natural  helper 

Si'siuL  lae  wa/x*i  Lo'koa’yas.  La/lae  o'tsaxa,  laa'm  a'Em  LE'lx-?ida. 

Si'siuL  it  is  try  his  magic  Then  it  is  he  failed,  then  only  he  died, 

said  helper.  said 

La/lae  aik*’estaxoL.  La'lae  g*o'kulodes  wu'lisilax-’it  qae  qa'Laxs 

Then  it  is  he  went  up.  Then  it  is  his  tribe  made  a false  grave  for  indeed 

said  said  for  him 

ne'k-aax  a'laEm  LE'da.  A'maalaxoL  T;aL  Lo'koala  la/xis  qoe'x-’idaasaxs 

they  said  really  he  was  dead.  Only  he  found  a at  his  what  he  had  done 

had  magical 
helper 

lae  ai'k-’esta.  E'lguxslk-Ela  lae  da  g*e'tsEVasboLas.  L’e'sElaxseg’a- 

it  is  he  went  up.  Blood  on  its  side  it  is  the  coffin  pretended.  Sun  on  its 

said  said 

lis  lae  gd'tsEwasboLas.  Mo'p’EnXuas  a'mlae  la'e  ku'n?og*aL  la/xa 

f ide  it  is  coffin  pretended.  Four  days  it  is  said  he  had  it  began  to  at  the 

said  * gone  thunder 

ai'k^e.  Hai'maala'xoL  Le'laxaLS  da  ku'n?og*aL.  G#a/xlae  g’a'xaxalis 

above.  He  had  gone  Le'laxa  to  be  the  thundering.  He  came  it  is  coming  down 

said  to  the  beach 

xa  qaa'la  qa  a/xalis  laexs  g*a'xae.  Laa'm  ts’e'k’oa  la'xo  ku'nXoa. 

the  morning  that  early  he  went  coming  Then  a bird  there  thunder  bird. 

down. 

Laa'm  lae  q’o'xwuLts’ot  xes  ku'nxumL  Le'laxa.  Laa'm  q’a'L’aLELExs 

Then  it  is  he  took  it  off  his  thunder  bird  Le'laxa.  Then  he  was  recognized 
said  mask 

lia/e  Le'laxe  yisls  g-o'kulot.  La'lae  a'mL’ide  Le'laxe  ses  Lo'LEkuae. 

he  Le'laxa  by  his  tribe.  Then  it  is  he  played  Le'laxa  his  magical  treas- 

said  ure. 

He'iEm’El  Lo'kuise  da  ku/nXumL,  waxsqEmlae  LEwa  na/xnak*aqEmL. 

His  it  is  said  magical  the  thunder  bird  both  sides  face  and  dawn  mask, 

treasure  mask 

He'Em  la'wise  da  ma'maq’a;  he'imise  da  wa/lase  ye'qoae  maqa'yu, 

His  it  is  said  the  thrower ; his  was  the  great  wood  worm  implement  for 
*■  throwing, 

ts’e'kuXLa.  He'iEm  lawise  da  se'ilis.  La'lae  da  woq’a/s,  q’a'mXpa- 

birdinhead.  His  it  is  said  the  snake  in  Then  it  is  the  frog,  carrying  spear 

belly  said 

lEnkula  ma'maq’a.  He'Em  lawise  da  ha'mats’a.  He'Em  lawise  da 

point  the  thrower.  His  it  is  said  the  cannibal.  His  it  is  said  the 

pa'xalal^L.  He'Ern  lawise  da  t’e'nqoa.  Hai'Em  El  Lo'kue’s  Le'laxa. 

shaman  dance.  His  it  is  said  the  t’e'nqoa.  That  was  it  is  his  magical  Le'laxa. 

said  treasure 


1 

5 

10 

15 

20 


686 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


1 Hai'Em  la'lasElas  Le'laxe  da  ku/nXumL. 

His  going  from  one  Le'laxa  the 


going  from  one 
house  to  the 
other 1 

la/xa  no'iiLEm  iEwa  ts’e'tsaeqa. 

to  the  no'nLBm  and  ts’e'tsaeqa. 


thunderbird 

mask. 


XE'mx-’idaLaam  la'lasEla 

One  only  among  all  going  from 
one  house 
to  the  other 


[To  page  447.] 

SONG  OF  THE  RAVEN  MASK. 

1.  Wa!  k-ik-a’leqalag-ilak-asLe  ts’aeqewe’x-des  BaxbakiialaniiXsU- 

Va!  Everybody  is  frightened  by  his  winter  mask  BaxbakualanuXsI'- 

wae. 

wae. 

5 2.  Wa!  k-ik-a?leqalag-ilak*asLe  ha'msiwex-des  Qoa/qoaxualaimXsF- 

Va!  Everybody  is  frightened  by  his  cannibal  mask  Qoa'qoaxualanuXsI'- 

wae. 

wae. 

3.  WEdwElq’eqalag-ilak-asLe  qalo'kwex'des. 

Causing  real  palpitations  his  hooked  beak. 

4.  WE'lwElq’eqalag-ilak-asLe  liarFxhokuewex’des. 

Causing  real  palpitation  his  hau'xhok  mask. 


TUNE,  RECORDED  BY  J.  C.  FILLMORE. 


2 


feSrfc? * * #= 

25 

m ^ \ m M • ^ 

1 * _L | jL Y~ P 1 . I I 1 1 1 1 

1 f— i \ 

ft 

t - - —g  * f ' * y • r *-j 

rr*  i ^ r * 

p-mr- -=w-r-frr=\ 

rr~  * r 1 

JThat  is,  from  the  no'nLEm  dancing  house  to  that  of  the  tsVtsaeqa. 

THE  KWAKIUTL  INDIANS. 


687 


-ir- 

^ — — i*- — # _ — I 

1 ^ 1 

# # t 

f ii 

# # 

1 1 ^ ? £ i 
# , ^ • . _ 

(i  |C  ^ 

4=  t trft 

-*  p= 

1 J *f  J I I 


. * 

F— -f- 

nrs  7 r . * r l i — a ' r c r r w i 

u 1 — 1 

— 1 

! V • 1 J'  I 

[To  page  448.] 

SONG  OF  THE  MASK  OF  BAXBAKUALANUXSrWAE. 


Ha'msiwala  hamsiwalag*ilisk*as’owai  lax  BaxbakualanuXsi/wae 

Carrying  the  carrying  the  ha'matsa  mask  in  from  BaxbakualanuXsI'wae 

ha'matsa  mask  the  world  really 

k-as’owai  lax  owistalitsis  na/la. 

real  good  to  all  around  your  world. 

TUNE,  RECORDED  BY  J.  C.  FILLMORE. 

(?) 
o 


Beating 


688 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


—p—f — p— 

~^B  -P-P- ft 

L_ ! £ 

£ II £_ 

1 1 — 1 1 

-j-^— t11 

t=  l=£= 

m 


(g5j  P — * 

r j -fg~ 

J- 

— p|  r r 

f-\-< 

| 1 — 

+ 1 1= 

Third  sometimes  doubtful. 


[To  page  457.] 

HA/MATS’ A SONG. 

1 1.  Ia  laXdEn  laistai'sEla  iu  hamtsestaisEla  ius  BaxbakualanuX- 

Ia  I have  been  all  around  the  iu  eating  around  the  with  BaxbakualanuX- 
world  world 

sl'wae. 

sl'wae. 

2.  Ia  noguaE'm  wisukoallLelaXLa  wisuwistaliLilaXLas  Baxbakua- 

Ia  I give  no  time  to  escape  give  no  time  to  go  around  Baxbakua- 

the  house  with 

lanuXsi'wae. 

lanuXsi'wae. 

5 3.  Ia  laXdEn  ha'mxkamxayagdLs  BaxbakualanuXsI'wae,  lax  naqau- 

Ia  I have  been  where  you  cry  hap  for  me  BaxbakualanuXsI'wae,  at  the  mid- 

Leweis  lo'waj  ia  laXdEn  ha'mxhamxayagdLs  BaxbakualanuXsI'wae 

die  of  the  world ; ia  I have  been  where  you  cry  hap  for  me  BaxbakualanuXsI'wae 

lax  qa'lqataweis  lo'wa. 

at  the  post  of  world  world. 


THE  KWAKIUTL  INDIANS. 


689 


[To  page  458.] 

HA'MATS’A  SONG. 

1.  Hamhama'mai.  He/ilix-se  ha'mats’Ela'qum  qai  ha'mats’Elaqum 

Hamhama'mai.  Take  it  the  hap  sound  his  hap  sound 

qai  nao'wisk-asowas  qai  gua'paalisk-astses  lo'uaiak-asauXs  Lo'kua- 

his  standing  really  good  his  northern  part  real  his  of  the  world  real  the  super- 

lak'as’owe. 

natural  real  good. 

2.  Hamhama'mai.  He'ilix*se  ba/xbakulaqum  qai  ba'xbakulaqu'mx-te 

Hamhama'mai.  Take  it  the  BaxbakualanuX-  his  BaxbakualanuXsI'wae 

si'wae  sound  sound 

riao'wisk-asowas  qai  gua'paalisk-astses  lo'uaiak-asauXs  Lokua- 


qai 


of  the  world  real  the  super- 


his  standing  really  good  his  northern  part  real  his 

lak-as’owe. 

natural  real  good. 

3.  Hamhama'mai.  He'ilix-se  hau'xhok’ualaene  k-as?owes  qai  hau'x- 

Hamhama'mai.  Take  it  the  hau'xhok  sound  real  good  his  hau'xhok 

hok’ualaene  qai  ^ao'wisk-as’owas  qai  gua'paalisk-astses  lo'uaiak-as- 

sound  his  standing  really  good  his  northern  part  real  his  of  the  world 

auXs  Lo'kualak-as’owe. 

real  the  supernatural  real  good. 

4.  Hamhama'mai.  He'ilix-se  qa'loqoalaenek-as’owes  qai  qa'loqoa-10 

Hamhama'mai.  Take  it  the  raven’s  cry  real  good  his  raven’s  cry 

laenek-as’owes  qai  T;a'owisk-as’bwas  qai  gua'paalisk-astses  lo'uaiak-as- 

real  good  his  standing  really  good  his  northern  part  real  his  of  the  world 

auXs  Lo'kualak-as’owe. 

real  the  supernatural  real  good. 


TUNE,  RECORDED  BY  H.  E.  KREHBIEL. 


Ha  ha  ha 


Beatins 


ha  ha 
etc. 


ha  . 


mai  ha  mai  ha 


ha  mai 


ha 


* 

ha 


mai  1 1 He  - lix*  - se  ha  - mats’  - E - la  qum 


qai  ha  - mats’  - Ela  - qum  qai  La  - 5 - wis  - k*as  6 \va  qai 


D.  C.  al  Fine. 


gua  - pa  - lis  - k’as  16  - wa  lo  - kua  - la  - k’as  5 we 
NAT  MUS  95- 44 


690 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


[To  page  459.] 

HA'MATS’A  SONG. 

1 1.  Ha'msamiqLayaXdosxa  no'gua  ha  la  no'gua;  ha'msameLayaXdosxa 

Food  is  always  being. put  into  I lia!  do  I;  food  is  always  being  put  into 

my  mouth  my  mouth 

no'gua  Lo'kualag-lLa. 

I therefore  I am 

supernatural. 

2.  Q’u'la  mEnsayaXdosxa  no'gua,  ha  la  no'gua;  q’u'la  mEnsayaX- 

Life  I am  always  swal-  I ha!  do  I;  life  I am  always 

lowing  swallow- 

dosxa  no'gua  q’oe'q’ulaXde  ha'msayaXde. 

ing  I lives  past  food  past. 

5 3.  Ya/qameLayaXdosxa  no'gua;  ha  la  no'gua  ya/qameLayaXdosxa 

Property  is  always  being  I ha ! do  I ; property  is  always  being 

put  into  my  mouth  put  into  my  mouth 

no'gua  yaiqawe'Xde  ha'msayaXde. 

I property  past  food  past. 


[To  page  459.] 


HA'MATS’A  SONG. 

1.  Ha'masa’yalag-eLdE  no'gua  lax  o'wistala  lak-asdE 

Going  to  get  food  for  me  I at  around  the  went  really 

world 

Ha'masa’yala  lax  o'wastalisk-a'tses  Iowa. 

Going  to  get  food  at  around  the  really  your  world, 
world 

2.  Ba/bakoayalag-eLdE  no'gua  lax  o'wistala  lak-asdE  no'gua. 

Going  to  get  men  for  me  I at  around  the  went  really  I. 

world  ‘ , 

10  koayala  lax  o'wastalisk-a'tses  Iowa. 

get  men  at  around  the  really  your  world, 

world 

3.  Xa'xaqoayaiag-eudE  no'gua  lax  o'wistala  lak-asdE 

Going  to  get  skulls  for  me  I at  around  the  went  really 

world 

Xa'xoqoayala  lax  o'wastalisk-a'tses  Iowa. 

Going  to  get  skulls  at  around  the  really  your  world. 

world 


no'gua. 

i. 


Ba'ba- 

Going  to 


no'gua. 

i. 


4.  La'loLayalag-eLdE  no'gua  lax  o'wistala  lak-asdE  no'gua.  La'lo- 

Going  to  get  a corpse  for  I at  around  the  went  really  I.  Going  to 

me  world 

Layala  lax  o'wastalisk-a'tses  lo'wa. 

get  a at  around  the  really  your  world, 
corpse  world 


[To  page  459.] 


15  1.  Q’a/laSoalag-ilis  a 

Will  be  known 
everywhere 

g-a'nEmLoL  o’wanxelis 

later  on  you  edge  of  world 

oup’eqas  Yalag-ilisk-asa. 

chief  of  Yalag-ilis  real. 


HA'MATS’A  SONG. 

hais  g-a'nEmLoL;  q’a/laSoalag-ilis  a hais 

later  on  you;  will  be  known 

everywhere 

na'la.  He'iL7alistsek-as.  Xa'qestalistsek-as 

world.  Right  one  in  great  real.  Safely  returned  great  real 
world 


THE  KWAKIUTL  INDIANS. 


691 


2.  QVlagoalagdlis  a hais  g-a'nEmLoL;  qVlagoalag-ilis  a hais  1 

Will  be  known  later  on  you;  will  be  known 

everywhere  every  wh  ere 

g'a/nEinLoL  o’wanxelis  na/la.  La/ix*deqbus  gd'lq’Esamatsokwas 

later  on  you  edge  of  world  world.  They  went  and  made  you  eat  first 

made  you 

ba/kwastea  haik*a/sas  BaxbakualanuXsi'wae. 

dried  human  flesh  real  BaxbakualanuXsi'wae. 

3.  Haip'eqaletsEmXtEnai  lax  ha'insp’eqas  na/qauLewallts  na/la. 

Being  led  right  to  the  pole  to  . his  cannibal  pole  in  the  rear  of  the  world. 

house  of  the  world 

4.  Haip’eqaletsEmXtEnai  lax  ha'msp’eqas  q’a'nq’aqa/waleits  na/la.  5 

* Being  led  right  to  the  pole  to  his  cannibal  pole  the  milky  way  of  the  world. 

world 

5.  Haip’eqaletsEmXtEnai  lax  lia'msp’eqas  he'iLk-’btewaleits  na/la. 

Being  led  right  to  the  pole  to  his  cannibal  pole  the  right-hand  side  of  world. 

the  world 


TUNE,  RECORDED  BY  F.  BOAS. 


• — 96 ' >- ^ A A A A A 


Rapid  beating. 

A A | ( ' A ( PP 

/ 

A 

ya  - he  he 

ffS'S'J' 


A A A A A 


r -r_ 

^ h f ^ 1 ^ 1 — !* 

1—  ^ l-  h f . 

— sj- 

ye  he  - ya  au  — 

A ! A 1 PP 

A 

j # A * » !==  * 

1 & i 

A A A A A 

L-J  U f-  j fl 

^ I-  J t=  t ==£_*_  * t 

: d ...  . p ii 

[To  page  459.] 

SECRET  SONG  OF  HA'MATS’A. — AWIK-’ENOX  DIALECT. 


Ya,  wune'nasu'Xsiya  qa  es  ha'msayak-asde.  We'q’as  no'gua 

Ya.  go  you  for  his  food  real  past.  Nothing  I 

qoe'q?ulaqEmleLk*asde  ha'msayasoLas  BaxbakualanuXsiwaek-asde. 

living  face  real  past  food  that  will  be  BaxbakualanuXsi'wae  real  past, 

obtained  from 


692 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


[To  page  459.] 

HA'MATS’A  SONG. 

1 HaiLaiqoe'x-se  a haiLaiqoe'x-se  awa/la  BaxbakuaflanuXsI/wae 

That  is  the  way ! That  is  the  way ! real  BaxbakualanuXsi'wae 

Aswa/La,  aswa'Lai?  awa/la  BaxbakualanuXsi'wae. 

Is  that  you,  is  that  you?  real  BaxbakualanuXsi'wae. 


[To  page  460.] 


FEAST  SONG  OF  HA'MATS’A. 

1.  G-a'xg-astEn  qoeyo'LElak-as’a  ma'mEnLeyak-as’a-ts’a'eqelask-as’os 


I came 


near  the  place  really 


to  fill  my  stomach  really  your  real  house  of  the 
winter  ceremonial 


ma'mEnLeyask-as’o. 

filling  stomach  real. 

5 2.  K-e'LElag-ilak-as  k-e'k-aliqalag-ilak-ase  haai'LElask-as  L’e's’ala- 

Making  scared  really  making  reluctant  to  go  really  to  go  right  in  really  the  heat 

k-as’a  k-’i'lopaiak-as’a  ts’aeqelask-as’o  ta'yaLtseask-as’o  waha  hai,  waiya 

real  the  whirling  real  of  your  real  house  of  where  all  warm  real  waha  hai,  waya 
the  winter  ceremonial  their  hands 


wai. 


[To  page  460.] 


FEAST  SONG  OF  HA'MATS’A. 

1.  G-a'xg-astEn  qoeyo'LElak-asa  ma'mEnLeyak-asa  lax  ts’a'eqatse- 

I came  near  the  place  really  to  fill  my  stomach  really  at  your  real  house 

yasqos  ina/mEnLeya  hai  dai. 

of  the  win-  filling  stomach  hai  dai. 
ter  ceremonial 

10  2.  WafamLEnoX  yilXsanalag-illLai  hoxsanalag-iliL  lax  mE'nLmEn- 

Ijever  mind  if  we  are  hurt  (by  the  fire)  if  we  vomit  at  the  kinds  of  food 

LaliLtses  ts’a/eqatseaqosa  ma/inEnLeya  hai  dai. 

in  your  house  house  of  the  winter  filling  stomach  hai  dai. 
ceremonial 

[To  page  460.] 

HA'MATS’A  SONG. — LA'LASIQOALA  DIALECT. 

1.  Ha/okhok’oa'lae  stamx-ti  owesta'Xtis  lo'wa. 

Ho'xhok’s  voice  is  all  around  the  world. 

world 

2.  Ha/uxaunakulasLas  ts’e'tsaeqanxelisk-astses  lo'wa. 

Assemble  at  your  places  edge  of  ts’ets’ae'qa  real  your  world. 

3.  Qoa/qoaxo'lae  stamx-ti  owe'staXtis  Iowa. 

The  raven’s  voice  is  all  around  the  world. 

world 

15  4.  K-i'mqona/kulasLas  be'bekunxelis  lo'wa. 

Assemble  at  your  places  lower  edge  of  world  world. 

5.  Ha/matsElaqolai  stamx-ti  owesta'Xtis  lo'wa. 

Ha'mats’a’s  voice  is  all  around  the  world. 

world 


THE  KWAKIUTL  INDIANS. 


693 


[To  page  460.] 

HA'MATS’A  SONG. — LA/LASIQOALA  DIALECT. 

1.  LaistaisElag*ilisk*aso  had  Lo'koala  hamai  am.  Ha'msaialag-ilis-  1 

He  goes  around  the  world  hao  the  super-  hamai  am.  He  looks  for  food 

truly  natural  one  around  the  world 

k*aso  had  Lo'koala,  hai,  lax  waxsE'Dxelisk-atsis  lo'wa. 

truly  hao  the  super-  hai,  at  both  sides  of  the  world  world, 
natural  one 

2.  Q’aq’aeiq’atsa/lag-ilisk'aso  hao  Lo'koala  hamai  am.  Xa/naXq’oa- 

He  always  wants  to  eat  much  truly  hao  the  super-  hamai  am.  Trying  to  eat  alone 

natural  one 

tsa/lag-ilisk-aso  hao  Lo'koala,  hai,  lax  wlEmq’asayasoXdes  hes  qoeso- 

truly  hao  the  super-  hai,  at  the  food  which  he  did  not  his  at  the  far 

natural  one  obtain 

tEnxelits  lo'wa.  5 

edge  of  world, 
the  world 

3.  WaxsEmq?asElag*ilisk*aso  hao  Lo'koala  hamai  am,  hai,  lax  na/naX- 

He  eats  from  both  sides  truly  hao  the  super-  hamai  am,  hai,  at  trying  to 
natural  one 

q’atsayasos  qoe'sotEnxelis  lo'wa,  lax  wI'Emq’asasoXdes  heiLk-’otE'nxe- 

eat  alone  at  the  far  edge  of  world,  at  the  food  which  he  did  at  the  right-hand  side 
the  world  not  obtain 

lisk-atses  lo'wa. 

of  the  world  world. 

[To  page  460.] 

Kd'NQALALALA  SONG. 

1.  La  no'gua  owamaxalisayuLe  ta/nisk*as’d  awamai. 

I press  down  your  madness  cannibal  real  good. 

2.  La  lingua  yoLaxalisayoLai  ta/nisk-as’o  awamai.  10 

I press  down  your  cannibal  real  good, 

whistles 

3.  La  no'gua  suwamaxalisayoLai  ta'nisk*as?d  awamai. 

I press  down  your  hunger  cannibal  real  good. 

4.  Ha'laiqais  ha'masa’yalaqEmLdsai  ta'nisk-as’o  awamai. 

Indeed  you  your  face  looking  for  food  cannibal  real  good. 

5.  Ha/laiqais  xaxdqoaya/laqEmLdsai  ta'nisk*as7d  awamai. 

Indeed  you  your  face  looking  for  skulls  cannibal  real  good. 

6.  Ha/laiqais  ya'qamEnsayaqEinLdsai  ta'nisk-as’d  awamai. 

Indeed  you  your  face  devouring  property  cannibal  real  good. 


[To  page  461.] 

k-Lnqalalala  SONG. 

1.  Qoa/LElaamXde  qa/k-uLts’a/lise  qamqa'mXulayos  ts’a/eqonakula  15 


Begin 


crowded  in 
the  house 


feathers  all  over  you 


moving  to  one 
place 


sa  yis’owai'stas  na'le  yeye. 

of  all  around  the  world  yeye. 
world 

2.  Qoa/LElaamXde  we'iLaxalase  mamEnla/yuLds  mE'nmEnLElag-ita 

Begin  weak  from  her 

vis’owai'stas  na/le  yeye. 

all  around  the  world  yeye. 
world 


tempting  food  for 
one  who  is  satiated 


oversatiated  through 
you 


694 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


3.  Qoa'LElaamXde  aik*’exsalese  yukuisawayos  bo'xonakulaeda 

Begin  through  the  roof  burnt  stones  you  all  rnnning  into 

the  house 

20  yis'owai'stas  na/le  yeye. 

all  around  the  world  yeye. 
world 

[To  page  461.] 

K-FNQALALALA  SONG. 

1 1.  Ha  ba'pxayag-TLk-asdEii  ha/matElaqoag-LLdeis  BaxbakualanuX- 

He  cries  hap  for  me  he  cries  the  ha'matsa  sound  BaxbakualanuX- 

for  me 

sl'waek'asde  qa  baux  Lo'koalakms. 

si'wae  real  past  for  this  super-  real. 

natural  one 

2.  LabnXdewe'sEn  mE'ns’alisayaso  max’alisa'yaso  s q’a/q’elaqulaXde 

I have  been  shown  thrown  into  me  of  many  sounds  of 

whistles 

nau'alak’oalag-ilitsEms  owulqalag-ilis  -to  BaxbakufilauuXsI'waek'asde 

sound  of  magic  of  the  companion  and  BaxbakualanuXsI'wae  real  past 

5 qa  bau'x  Lo'koalak-as. 

for  this  supernatural  real. 

one 

3.  AmXdowe'sEn  la'laalag-ilisa  baiq’EnXolag-ilis  lax  ogoaq’a'lag-ilisa 

Only  I going  reaching  in  front  of  him  at  different  sound. 

nE'msqEmg-I'lag-ilisa  no'nLEmg-ilisa  iiaualak’oalag*ilitsEms  o,vnilqa/- 

only  sound  making  foolish  sound  of  magic  of  the  com- 

lag'ilis  to  BaxbakualaimXsi'waek-asde  qa  baux  Lo'koalak-as. 

panion  and  BaxbakualanuXsI'wae  real  for  this  supernatural  real 

past  one 

[To  page  461.] 

K-1'NQALALALA  SONG. 

1.  Ts’a'tsaeqalaqoleistamLeis  naualaX’unek*asLos,  ts’etsaeqalagb- 

Winter  dance  sound  everywhere  magic  your  body  real  your  body  is  all 

10  t’aya  bayema  ma  mai. 

winter  bayema  ma  mai. 
dance 

2.  Hamats’ElaqolestamLeis  naualaX’unek*asLos,  ba/matsElaqut’aya 

Ha'mats’a  sound  everywhere  magic  your  body  real,  your  body  cries  hap 

bayema  ma  mai. 

hayema  ma  mai. 

3.  Ta'yugulisllak'asa  laiLaos  aix'alaLElalisk-as  lax  mEdsElagbli- 

Tou  go  near  really  you  go  right  up  to  him  really  to  turning  neck 

tSEmk*asLa  La/labawulaqulayuLos  qoe'qoaxulagataya  babe. 

(raven)  real  raven’s  war  cry  you  raven’s  cry  on  body  hahe. 

15  4.  TayyugoalisElak*asa  laiLaos  aix'a'laLElalisk’asLa  qa/mkulag*ili- 

Tou  go  near  really  you  go  right  up  to  him  really  shutting  beak 

tsEmk*as  bauxbokiia'lagbta/ya  babe. 

real  hauxhoku  sound  on  body  hahe. 

5.  Ta'yugoalisElak'asa  laiLaos  aix*alaLElalisk*asLa  waxsEnqolagdLa 

Ton  go  near  really  von  go  right  up  to  him  really  carrying  (a  skull)  in 

each  hand 

q’a/q’aLElag-lLaloL  nakulag-iLa  bae, 

carrying  (a  corpse)  on  the  moved  for  you  hahe. 
arms  for  you 


THE  KWAKIIJTL  INDIANS. 


695 


[To  page  461.] 

K-1'NQALALALALA  SONG. 

1.  Ts’a/tseqalaqoalag'lLdoX  Lo'koalak-as’owama. 

song  for  me  the  super-  real  good, 
natural  one 


Winter 

ceremonial 


2.  Ha'mats’Elaqulag-iLdoX  Lo'koalak-asVwama. 

Ha'mats’a  song  for  me  the  super-  real  good. 

natural  one 

3.  Ba'bakulaqoalag’lLdoX  L<Vkoalak*as7owama. 

good. 


BaxbakualaouXsi'wae’s  song  for  me 
the 


super-  real 
natural  one 


4.  K,?eokulisilak*asLes  nau'alakuasos  Lo'koalask-asa. 


He'Em  laiL 

Therefore 


upei 

natural  one 

wu'Ltse  wa/nameistala  wax  wn'La  do'x’oaLElak-asax  nau'alakuasos  5 


a long 
time 


to  see  really 


long  ago  they  hide  everywhere  try 

Lokoalak*asa  ha  hamamai. 

the  super-  real  ha  hamamai. 
natural  one 

[To  page  461.] 

K-I'NQALALALA  SONG. 

1.  He'ilik-ilaLElaLis  do'qula  qoa/nask-asdeaLas 


Taming 

slwaede  doqula ! 

sl'wae  past  see  (me) ! 

2.  Ha/yasElaLElaLis 

Cutting  the  veins 

do'qula ! 

see  (me) ! 


see  (me)  the  wildness  real  past  of 


doqula  qoa'nask-asdeaLas 

see  (me)  the  real  wildness  past  of 


Ba'xbakualanuX- 

BaxbakualanuX- 


yex'siwalag'ilisde 

monster  at  north  end  of 
world  past 


10 


[To  page  463.] 

Q’OMINOQA  SONG. 

1.  LaistaisElayuXdoX  Q’aominoaqaXde  lax  owaistas  na/la. 

G-oing  around  the  world  (past)  Q’ominoqa  past  to  all  around  world. 

2.  TowistaisElayuXdoXs  Q’aominoaqaXde  lax  owaistas  na/la. 

Walking  around  the  world  (past)  Q’ominoqa  past  to  all  around  world. 

3.  Ia'yag-ila  qoai'LdoXs  ya/k^oL’aDaik-a'sdes  Q’o'minoaqaXde. 

Prophesying  from  bad  side  (left  hand)  of  Q’ominoqa  past, 

evil 

4.  Aakg-ila  qoai'LdoXs  aix-k*’oLanek*asdes  Q’o'ininoaqaXde. 

from  good  side  (right  hand)  of  Q’d'minoqa  past. 


Prophesying 

good 


J = 116. 


TUNE,  RECORDED  BY  F.  BOAS. 


Lais  - tai  - se  - la  - yuX  - dd  — X Q’ao-  - mi-no-  a - qaX  - 

TWtin KIN  N KIN  N IS  I N N N I N N N 
Eeatmg  g J j J y J y J J J y J y J I J y J y J I J y J y J 


m 


de 


la 

N N N I N IS  ,N  I ,N  h |S  I N N N 

J y J y J \ J y J y J I 0 y 0 y 0 I J y 0 y J 


o - wais  - tas 
,N  N I N 


0 y 0 y 


f>96 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


ai  ai  ai  ya 


ai  ai  ai 


J'  I A A / I A A/  I A A / 1 A A/  I A A/ 


ai  - a 

/ 7 S'  7 / 


a ai  ai  ai  ai 

is  is  Is  I ,S  h N 

*7*7*  I • 7 * 7 * 


ai  a 

JS  7 J"  7 JS  I / 7 


* 7 * 


^ 7 


*NA*M.N/ 


7 * 


*N 


*N 


• 7 


*N  / 


^ 7 


' 7 * 


fs  N N I N fs  SIN  N N 

J 7 * 7 * I*  7 # 7 * I#  7 * 7 * 


T5  - wis  - taisE  - la  - 

K A,  A I \ 7 I 

*7*7*  I * 7 * 7 * 1 


=t= 


yuX 

*7*7* 


doX  — Q’a6  - mi-no  - a - qaX 

|N  1 N >N  I N N Is  I Is 

0 *1  0 *1  0 \ 0 1 0 1 0 I 0 


etc.  as  above. 


6 - wais  - tas  na  - la 

h 


N N K 

* 7 • 7 J 


*7*7* 


^ N h 

^ 1J1  • 


ai  ai  ya 

#7/7  / ! etc* 


[To  page  463.] 

SONG  OF  Q’OMINOQA. — LA'LASIQOALA  DIALECT. 

1.  Ia  ha  ha  ha  na.  He'ik-asmis  ts’atsaeqenoaig-iLa'na. 

Ia  ha  ha  ha  na.  Truly,  therefore  they  are  joining  your  dance. 

2.  Qais  yE'hiEgiiilisus  ts’E'loaqenoaiyeida. 

Because  you  carry  a rattle  they  join  in  your  praise, 
in  your  hands 

3.  Qais  wPlEnguilisus  amiaxe'noaiyeida. 

Because  you  carry  all  they  join  in  your  praise, 

in  your  hands 


THE  KWAKIUTL  INDIANS. 


697 


[To  page  464.] 

SONG  OF  HA'MSHAMTSES. 

1.  Hamasa’ya/lag*ila  haisai  ye  hamamamai. 

Trying  to  look  for  food  all  around  ye  hamamamai. 
the  world 

2.  Ba/bakuaya/lag-ila  haisai  ye  liamamamai. 

Looking  for  men  all  around  the  ye  hamamamai. 
world 

3.  Q’ula/  mEnsayag’ila  haisai  ye  hamamamai. 

Life  swallowing  all  around  the  ye  hamamamai. 
world 

4.  Xa'xauquaya/lag-ila  haisai  ye  hamamamai. 

Looking  for  heads  all  around  the  ye  hamamamai. 
world 

TUNE,  RECORDED  BY  E.  BOAS. 

J.S72. 


He  ye  ha  ma  ma  raa  ha  ma  ma  mai  ha  - 

Beating.  *1  1 J'  | 1 J*  *1  | etc.  ' 


ma  - sa  — ya  - g*i  - la  - a a - hai  sai 
ba  - kua  - ya  - g*i  - la  etc. 


!-h-k — f2-- 

(52 0 “ 

t 

- | - — h — b' — 

-p — i 

xr  [7  r- 

h-  ^ 

(==&*= 


ha  ha  ma  - ma  ma  a mai  . 


-&=r 


me  mai 


ma  - ma  ma  mai 


me  ma  he 


t - ma  - ma  mai  ha  ma  a ma  mai  ha  me  mai  ha 


ma  a ha  ma  mai  ha  ma  - ma  - me  ha  - me. 


698 


REPORT  OF  NATIONAL  • MUSEUM,  1895. 


[To  page  464.] 

SONG  OF  HA'MSHAMTSES. 

1.  Ts’a/ts’aeqElaqolistse  LEla’lans  na/naxtsowai  da  xaux  Lo'koala. 

Singing  great  ts’a'eqa  song  will  our  imitated  one  the  that  supernatural  one. 

2.  Ha/matsElaqolistse  LEla’lans  q’a/q’atsEwaidea  xaux  Lo'koala. 

Great  ha'mats’a  cry  will  he  our  imitated  one  that  supernatural  one. 

3.  Lans  do'qulaLax  ts’iUeqamLElaya  ha'insEmLElaya  ia/lagdlis  xaux 

We  shall  see  it  his  mast  the  ha'mats’a  mask  what  makes  that 

him  travel  about 

Lo'koalaya. 

supernatural  one. 

TUNE,  RECORDED  BY  F.  BOAS. 


Ha  - mai  ha  ma  - ma-mai  ha-ma-mai  ha  - 


BeaUngia  | ^ | / , / , / , /*  | / / , .K  J' 


m 


ma  — mai  ha  - mai  ha  ma  - a ma  he  ye  ye  he  ye 

i / 1 / * I / A / 1 / 7 / •?  / » I / J\  A / i A A I 


| : Ts’a  ts’ae  qe  la  — ya  q61is  - tse  qE  la  — ya 

l:  / J*  *1  JS  *7  f *7  *7  i'  x I ^ / *7  f 1 / X I 


nan  - ax  - ts5  wai  — da  xaux  l5  koa  - la  ye  ye 

/ JS  *7  / *7  JS  «7  / *7  / ^ ! JN  / *7  / *7  I / / *7  / «7  / I 


he  ye  ye  ye  ye  : | Ha  - mai  ha  ma  - ma  mai 

7/7/7A7A  A I / / 1 J'  7 / 7/7  /si 


hama-ma  ha  - ma  — mai  ha  - mai  ha  ma  — ma 

/ / «7  / «7  / *7  / *7  / * I / / *7  / 7 / *7  / *7  / X I 


THE  KWAKIUTL  INDIANS. 


699 


p»  • # £-  r ^L_  fL 

hee  ye  - e 

he  ye  ha  - mai  ha  ma  - a - mai 

A A 7 A 7 A 

7 A 7 A S 1 A A 7 A 7 A 7/7  A * 1 

@-£= 

■0- 

ha  - ma  - mai  ha  - a - mai  he  e ye  e ha  - me 

J'J'i  -N  / 7 / * I /A7  J'r  I tfi  I 


|S  iS 

J ' 7 


ye  - lie 


A.I  JV 


7 * 


ha  ma 

N N 
7 * ' 


ma  - mai 
|N  ^ 

7 * 7 « 7 


J1 


ha 

7 * 


ha 


ma 

[S  iN 

7*7 


/I 


mai  — 


7 A*  A I 


| Ha-ma-tsE  la  — ya  qolistse  le  la  — Ians  qa  - qa  - tsu 

l : J"  A A ^ 7 A * I AN  A 7 A ^ * I ^ ^ 7 A 


ai  - de  - a xaux  Lo  koa 

f A A s I A A7  A7 


La  ye  ye  he  ye  ye  ye  - ye  : | 

/A  A A t A A i A 7 A A:l 


Ha  - mai  ha  ma  - mamai 

Is hv  iN  * 7V  iN  . 

**7*7*  7*7*. 


liamamai  ha  ma  — mai  ha  - mai  ha  - 

AA  7 A A 7 A A si  /A  A A 


ma  a ma  he  eye  e ye  ye  ha -mai  ha  ma  - a- mai 

7/7  S ' si  A A 7 A A 7 A •'si  /A  A/  7A7  A s 1 


ha  - mai  ha  - ma  - a mai  he  ye  e ha  me 

/ «N  j\  js  7 jn  7 js  ^ I J'  js  • 7 A I js  A i'  7 I *s  *^  7 *^  7 1 


700 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


he  ye  ha  - ma  - ma  mai  ha  - ma  - mai  ma  ma  | 


S S i S 1 /1 1 S i S i /1 i S i S i «N  i S s #Vl 


£-*  0 

-0- 

Lans  do  - qoa  - 

//•,  Si  S 
-0- 

la  — Lax 

i Si  S x 1 

ts’ae  - qam  - le 

SSi  Si  s 

la  — ya 

i S i S * i 
•#- 

ham  - SEm  - Le 

SSi  Si  s 

la  — ya 

i S i S * 

ya  - la 

1 S Si  Si  s 

g*a  - lai-sa 

i Si  S * ! 

xaux  l5  koa  - la  ye  ye  he  ye  ye 

S S i S 1 I S / i S i «u  i S i S i S 


ye  ye  |] 

i S*  II 


[To  page  465.] 

SONG  OF  HA'MSHAMTSES. 


1.  Ts’eLwalag*ilisaye,  ts’eLwalag-iJisaye  waxsEnxelis  lo'wa. 

Famous  everywhere,  famous  everywhere  at  both  ends  of  the 

world. 

2.  Q’a/q’atsuwaihaide,  q’a/q’atsuwaihaide  waxsEnxelis  lo'wa. 

Tried  to  be  imitated  tried  to  he  imitated  at  both  ends  of  the 

world. 

3.  Lans  do'qulaLax  gi'wi’lene  haso  ya/yaxolag*itaya. 

We  shall  see  him  (dancing)  in  him  dancing, 

house 


J=  76- 


tune,  RECORDED  BY  F.  BOAS. 


Hebe 


He  ma  me  ye  ha  - mai  he  ye  ha  ma 

Beating  § j'  / .7  ^ | / .7  / | / 7 #M  / / 


ma  ha  - mai  ye  ha  - ma  ma  he  mai  - ye  ha  hama  - 

Si  Si  S I Si  Si  S I Si  Si  S I Si  Si  S I 


THE  KWAKIUTL  INDIANS. 


701 


P=^ 


mai  ye  mai  ye  he  - ma  me  me  ha  - ma  he 

1 0 1 0 I / 7 / 7 / I JS  7 / 7 / I / 7 / 7 / 


Ts’eL  - wa 

is  h 

7 J 7 0 


i - g*i  - la'  - ye  ts’eL  - wa  - la  - g*i  - 

N N N 1 N N N I ,s  |N  „ r* 

0 7 J 1 * I J 7 0 *7  J I 0 7 0 7 0 


la  - ye  wax  - sEnxe  - lis  15  - gua  - ye  he  ma  me  me 

/ *7  / *7  / I / 7 / 7 #M  J*  7 / 7 / I *7  JS  7 / 


ha  me  me  ye  Ts’eL  - wa  - la  - g*i  - la7  - ye 

iS  v iN  I 'S  * Is  * M iS  * is  * .N  I Is  * h „ 

#7#7#l#7#7#|#7#7#  I # 7 # 7 # 


ts’eL  - wa  - la  - g*i  - la  - ye  wax  - sEuxe  - lis  15  - gua  - ye 

S 1 S 1 S I S 1 S 7 / I / 1 i'  1 S I / 1 S 1 S 


A . -0- 

A 

& 1 

0-  ■ 

gg £__Z jj-  f £ 

£ ££-.-~. -ft 

^ A 

| j_ ^ 

1 

| 

he  ma  me  me  ha  - me  me  ye.  Ha  - ma 

Si  Si  S I Si  Si  S I Si  Si  S I Si  Si  s 


mai  - ye  mai  - ye  he  ma  me  me  ha  - me. 

/ 7 / 7 / I / 7 / 7 / I #K  7 / 7 ^ I / 7 / 7 / I / 7 VS  7 ^ i 


702 


i— — r — 

0 rj  0 

— p 1 U : 

i 1 — 

i 

1 ! 

He  ma  - me  me  ha  - mai  he  ya  Q’a  - q’a  - 

S i S i S I S i S i S I S i S i S I S i S i / 


' 


tswai  — hai  - de,  q’a  - q’a  - tswai  - 

/ 7 ^ I * i J'  i * I I / •?  J'  *7  J 


hai  - de  wax  - sEnxe  - 
S 


lis  15  - gua  - ye 

,N  h M h 


he 


ma  me 

**  I h , 


me 

S 


ha  - ma  he 

NIK  N N 


J 1 S 1 S I J 1 « 1 » I • 1 ^ 1 • | 4 1 4 1 


ye.  Q’a  - q’a  - tswai  — hai  - de,  q’a  - q’a  tswai  - 

Si  Si  jM  S'  v S'  i S I Si  Si  S I Si  Si  s 


hai  - de  wax  - sEnxe 

S i S i s 


S i S i s 


lis  15  - gua  - ye 

r\  i ,s  s 


0 *1  0 *1  0 


he  - ma  me 
,N  I h jS 


0 1 0 7 0 


ha  - me  He  ma  me  ye  ha  - mai  he 

S i S i S I S i S i S I SiSiS\SiSyS\Si  s 


mi 


ya  Lans  doqu  - la  - Lax  ha  - ye  ya  - wi-le-  ne  ha 

„ M i'  m h v r*  „ is  | > „ js „ > j > „ h 

'I0\0%l0tl0\0*l0l0  \ 01010  \ 0 1 0 


1 


sa  - ya  Ya  - yaxo  - la  - g*i  - ta  ya  he  ma  me  me  ha  - me. 

i J'I  Si  Si  S 1/ 1 Si  S\S i Si  S\S i Si  S\Si  S i J'I! 


THE  KWAKIUTL  INDIANS. 


703 


[To  page  465.] 


SONG  OF  HA'MSHAMTSES. 

1.  To'yuqawalag-ilaa'mXtElala  na'nualak’uenek'as’os  Lo'koalak-as’o.  1 

Going  between  mountains  on  earth  magic  in  your  body  real  your  supernatural  real, 

he  was 

2.  ToXtokoalag-ila  ahai'sk^asLElax-is  na'nualak’uenek'as’osLo'koala- 

He  is  going  farther  real  your  magic  in  your  body  real  your  supernatural 

k*as’o.  TogulesiLaus  togulesk*as’o. 

real.  Therefore  you  walking  far- 

walk  farther  ther  real. 

3.  Qoe'sqoesk-alag-ilaik-asLElax-Is  na'nualak’uenek-as’os  Lo'koala- 

Going  still  farther  real  your  magic  in  your  body  real  your  supernatural 

k*as’o.  Qoe'sg-ilesiLaus  qoe'sg-ilesk-as’o.  5 

real.  Therefore  you  going  farther  real, 

go  farther 

4.  Tsa/ts?eqElaqulaahaisk*asLax*Is  na/nak’uenek-asos  Lo'koalak-as’o 

He  will  sing  his  ts’a/eqa  song  real  your  imitated  by  all  real  your  supernatural  real 

ha'mats’ElaqolaitseLElalai  na/naXtsoaide.  He'x-atsemoLlai  g-i'ltsa- 

great  ha/mats’a  cry  will  be  imitated  one.  You  are  the  one  the  first 

qolisa  ha/mats’Elaqolisk-ase  na'nualakumnokos  Lo'koalak-as’o.  Heix-a- 

one  to  utter  the  cannibal  cry  magic  in  you  supernatural  real.  You  are 

tsemoLlai  g-i'lg-alisaiaso  inEx’a/lisaiaso  na'nualagumiioguasos  Lo'koa- 

the  one  first  in  you  thrown  into  you  magic  in  you  supernat- 

lak-as7o.  ME'Xulasogwos  owanxelis  na/la.  ME'sElasogwos  waxsEn-  10 

ural  real.  Desired  you  at  the  edge  of  the  world.  Desired  as  food  at  both  ends 

xelits  na/la. 

of  the  world. 

TUNE,  RECORDED  BY  F.  BOAS. 


J.=  84- 


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mai  ha  - ma- ma  ha  - ma  - ma  ya-mai  ha-ma-mai  ha  - ma 


raa-  mai  hai-  ma-  mai  ha  - ma-  mai  ha  - ma-  1 


nai  t5  — yu  qa-  wal- 

10J1J / •?  /I7  • 0^0  *7  * 0 1 / ! 


-h 


g*i  - la  a hais  - k*as  - Le  - ne  nua  - la  - kue  nai-  yai  yau 

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LO  - 

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704 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


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ha  - ma  ma  - mai  hai-  ma-  mai  ha  - ma-  mai  ha  - ma  - ha  mai 

N h M N iN  S I N N SI  N S SI  N N N I N s I 
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N N N I ,N  iS  SI  N S N I N N SI  N S S I 

7 0 0 7 0 I 7*  • 7 * I *7  # * 7 * I 7 * * *7  # 1 7 # * 7 # I 


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ha  - ma-  mai  ha-  mai  ma  ha  - ma  ha  - mai. 


ha  - ma  ma  - mai 


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§a 


ma  ma-  mai 


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hai  ma-  ma  ma  mai  hai-  ma-  mai  ha  - ma-  ma  ha  - ma-  ma  mai. 

7 / #7  *^7  iVV  ^1?  / ^ 7 ^ I7  ^ ^ I7  7 A •'I?  ^7  ^ *11 


THE  KWAKIUTL  INDIANS. 


705 


[To  page  466.] 

SONG  OF  HA'MSHAMTSES. 

1.  LaistaisElayuXdoX  do'xdEquisElak-asxEn  na'noalakulaliLk’asa 

We  went  all  around  the  world  looking  around  on  my  beach  magic  in  house  real 

lax  owe'stas  na/la. 

there  all  around  the  world. 

2.  La/mXdowisEn  qax-usai'aso'kuas  L’a/L’aqulak-asde.  ME'tset- 

There  I went  it  was  put  upon  me  the  red  cedar  bark  on  That  is 

his  body.  derived 

g-iLaus  LeuXts’dwetk-as’o  yis  owe'stas  na/la. 

from  you  you  can  not  he  imitated  all  around  the  world. 

3.  Qoe'qoaxulag-iLdEn,  qoe'qoaxulagdLdEn,  qoa/qoaxuLaXstaig*ilis- 

• The  raven  cried  for  me,  the  raven  cried  for  me,  the  raven’s  cry  came  to  my 

tsoXdEn  Las  Qoa/xqoaxoa/lanuXsiwek-asde  lax  owe'stas  na/la. 

mouth  of  Qoa'xqoaxoa'lanuXsiwae  real  past  at  all  around  the  world. 

[To  page  466.] 

SONG  OF  NO'NTStSTALAL. 

1.  K-ik-a/LElagblak-as  owae'Lax  g-axaLo'dayuk-as  owaeLax  no'n- 

Making  them  afraid  real  good  this  what  he  gave  you  real  good  this  making 

tsistagilak*as  owae'Lax  s Ld'koala. 

crazy  real  good  this  of  the  supernatural  one. 

2.  Qoe'qoapaleLilak-as  owaeLax  g^axaLd'dayuk-as  owaeLax  no'ntsis- 

Scattering  them  in  the  real  good  this  what  he  gave  you  real  good  this  making 
house 

tag-ilak*as  owaeLax  s Lo'koala  g-Ia  yalie. 

crazy  real  good  this  of  the  supernatural  g-Ia  yahe. 

one 

[To  page  467.] 

SONG  OF  BEAR. 

1.  Wl'gbla  tsEns  wE’neneLans  wunX’uaits’ene  Lqanx  na/nax  sa 

How  shall  we  hide  we  hide  on  the  beach  before  the  hear  this  terrible 

ya/lag-ilisax  na/la  o'wae  ho. 

moving  around  world  o'wae  ho. 
the  world 

2.  EisnesLEns  qans  lEmbEta/lese  qans  tsemtsek*?a/lise  % Qe'yaL 

Better  we  we  go  under  ground  we  cover  our  backs  with  Tes 

dirt? 

qo  weydLanE'mnoX  Laxo  sa  na/na  sa  sE'mtsdyowalits’eiax  seiis  na/la. 

we  might  not  be  found  by  the  bear  ter-  of  the  mouth  great  this  of  our  world. 

rible 

[To  page  468.] 

SONG  OF  BEAR.— LA'LASIQOALA  DIALECT. 

Haia/a?  Le'qatsilalaida  na/nxatsilalaida,  la'mlaoX  hai'qamayaLaqe  lax 

Haifi/&,  take  the  great  name  say  bear  that,  he  is  going  right  to  the  highest  to 

(copper) 

Le'LeqamnoX  sis  e'iaLEla.  Sa/xauLElasEns  xo'maLElaLasea,  sa/xau- 

havingname  of  enslaved  We  shall  have  a battle,  we  shall 

tribes 

LasEns  tse/naXulaLasea. 

have  trouble. 

NAT  MUS  95 45 


i 1 

5 

10 

15 


706 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


[To  page  470.] 

SONG  OF  FOOL  DANCER. 

1 Wai;g*a,  wai'g*a,  wai'g-atselaxus  sa  haya  haya  ha.  Sas  do'qulaLa 

Go  on,  go  on,  go  on  great  you  ha ! haya  haya  ha.  Do  not  look 

xaha  t’a't’ekoamak-a  ha  ha  aEdkoamak*a  ha  ha  seyaXsIlaXdEn  sa 

the  curdled  blood  on  the  ha  ha  blood  on  the  water  ha  ha  those  whom  I cut  of 

water  the 

nu'naLoliswutdEnLa. 

*->ol  dancer’s  companion  I shall  he. 

[To  page  471.] 


SONG  OF  FOOL  DANCER. 


1.  Sa  s hex^ek'a'ya  hex'ek'a'ya  xans  nEmo'XtseXwe  hawai'k*as 

Ha ! disturbing  disturbing  our  great  friend  greatest 

-^beiioGo  lama/siL  g-a/x’aLElaxtseLtse. 

madness  came  on  to  him  great. 

2.  Gdn  g*ax  q’a/me  g*in  ts’opEnkwayasos  he/?yuwa  Lax  ya/la’yuwa 

To  me  came,  to  me  it  was  given  into  my  the  tool  the  tool 

hand  (for  killing) 

Lax  kVa/waqayo  Lax  x’u'sutalayu  Lax  ya/lagblisa  yada  xEns 

instrument  for  instrument  for  cut-  going  all  around  crazy  our 

severing  heads  ting  off  heads  the  world 

HEmo'kuix  hawa/k-as  nEnodo  lama/siL  g-a/x’aLElaxtseLtse.  Lahns 

friend  greatest  madness  came  on  to  him  great.  He 

gdng-inLElxLadalisila  wa  haiya. 

killed  all  old  and  young  wa  haiya. 

[To  page  471.] 

SONG  OF  FOOL  DANCER. 

10  1.  Kue'qaya  kue'qayatsea  qa  nanoalaktsek*as  tso'noqoatsek’as. 

Mad  mad  great  that  magic  great  real  tso'noqoa  great  real. 

2.  Ai  qa  q’ala/na  q’aq’ala/ya  la/xa  bEgua/nEm  qas  kue'qayatsek-as. 

Ah  that  torments  carries  on  his  at  the  man  that  madness  great  real, 

he  arms  his 

3.  Wldaya  baia  Llahamqo'wa  q’Ednq’ak-owa  lax  bEgua/nEm  qas 

Eating  all  haia  crushing  bones  eating  skin  and  at  man  that 

and  flesh  bones  his 

kue'qayatsek'as  ya. 

madness  great  real  ya. 


TUNE,  RECORDED  BY  J.  C.  FILLMORE. 


THE  KWAKIUTL  INDIANS. 


707 


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[To  page  471.] 

SONG  OF  FOOL  DANCEK. — LA'LASIQOALA  DIALECT. 

Waie  ai'tsik-asoL ! Leaana'lag-ilitsumk-aso! 

Waieh  ! oh  wonder ! he  makes  a turmoil  on  the  earth ! 

Ai'tsik-asoL ! saoltalag-ilitsumk-aso,  g*oxg-oxqoalag-ilitsumk-asd. 

Oh  wonder ! he  makes  the  noise  of  falling  he  makes  the  noise  of  breaking  objects 
objects  on  the  earth,  on  the  earth. 

[To  page  472.] 

SONG  OF  NA'NAQAUALIL. 

1.  Tse'tseqauasLela  hae  Lo'koala. 

All  gather  around  you  hae  supernatural 
while  you  are  dancing  one. 

in  the  house 

2.  Q’e'q’aqauasLela  hae  Lo'koala,  do'daqauasLela  hae  Lo'koala. 

Many  gather  around  hae  supernatural  they  gather  to  see  you  hae  supernatural 
you  in  the  house  one,  in  the  house  one. 

3.  Q’au'stiselasLela  hae  Lo'koala,  ma'mEiiLeasLela  hae  Lo'koala. 

Walking  right  up  to  hae  supernatural  asking  you  for  food  in  hae  supernatural 
you  in  the  house  one,  the  house  oue* 


708 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


[To  page  472.] 

SONG  OF  NA/NAQAUALIL. 

1 1.  HeyaqowiLila  yu/yak/oweLila  Les  ts’a'tg’aeqElaqum  Laus  ts’ae- 

Across  the  middle  rows  of  property  this  is  your  winter  your  winter 

of  the  house  dance  song 

qa'ya. 

dance. 

2.  HayaLba/lasilaLe  mamubalasilaLes  ts?a/ts’aeqElaqum  Laus  ts’ae- 

Everyhody  will  take  taking  four  blankets  to  this  is  your  winter  your  winter 

property  from  her  wear  from  her  dance  song 

qa/ya. 

dance. 

[To  page  472.] 

SONG  OF  NA/NAQAUALIL. 

5 1.  Oa/xk’asLEn  ba'matsElaqoliLo  Lo'koala. 

I shall  come  saying  hap  on  the  beach  the  supernat- 
ural one. 

2.  Gba/xk-asLEn  g-a/xwuLtoalisai'a  ha'msiwag-ilis  ts’aeqeweg-ilis. 

I shall  come  out  of  the  canoe  with  the  ha'mats’a  with  the  winter  dance 

head  mask  head  mask. 


[To  page  474.] 


SONG  OF  HA'MAA. 


1.  Ha'maoxda  la'g-auEmEns  q’ula'L  la'qe. 

There  is  ha'maa  we  shall  not  live  for  he  is 

there. 

2.  WFne’lsa  yumoxdaxsa/  la/g*anEmEns  q’ula/L  la/qe. 

Where  on  there  it  is  danger-  we  shall  not  live  for  he  is 

ground  ous  there. 

3.  Wl'nesLEns  wuna/?LasoXsa  ? 


10 


Where  shall  we  hide? 

4.  We'g-a  x-ins  wu'nx-’idea  la'bEtalisLa  qEns  tsE'mtsek-ilalis 

Let  us  hide  go  underground  that  we  cover  our  hacks  with 

dirt 


ha'mae  sa  yadagdlisax  na'la. 


ha'maa  ter-  going  around  the  world, 
rible  world 


qa 

for 


TUNE,  RECORDED  BY  E.  BOAS. 


Allegro.  A 


K2-J2  o p rf 

/ Harnadx 
\ WI  - 

Beating  £ J £ J | 

da,  - x 
nels  - 

Js  J 

- la 

a 

IM 

etc. 

a - ma 
n5x  dax 

da  - ax 
- sa 

ha  - 

Wl 

max  - 
ne’ls  - 

-Ml 

| la  g*a  nEmsq’u-laL-la  - qe  la  g’anEms-q’ulaL  -la-  qe. 


da. 


THE  KWAKIUTL  INDIANS. 


709 


[To  page  474.] 

SONG  OF  SALMON. — LA'LASIQOALA  DIALECT.  1 

1.  G-Ig-a'xs’aisEla  yuxdEno'guas  me'meoXoanak-asde. 

Many  coming  asliore  they  with  me  salmon  real  past. 

2.  Ha/laqas  g-a'g-ax’alag-iliseiloL  qa'ldoyowe’s  lo'wa.  HaiuXs’aisE- 

For  they  come  ashore  to  you  post  in  middle  of  heaven.  Dancing  from  the 

lag-ilitsEmXtEin  no'guas  me'meoXoanak-asde. 

outside  to  the  shore  me  the  salmon  real  past, 

with 

3.  Ha'laqais  kaixoanomag-ailoLai  keiLg-otme  is  lo'wa,.  Le'Laxoya 

For  they  come  to  dance  to  you  at  the  right  side  of  heaven.  Overtowering 

of  the  face 

ma'yaLas  aix-ts’umk-eyaLeXdes  me'meoXoanak-asde.  5 

surpassing  outshining  the  salmon  real  past. 

[To  page  475.] 

SONG  OF  SALMON. 

1.  Q’a/q’eXs’alisEla  sa  q’a/nomalag-ilisa  meyoXua'nE. 

Many  came  to  find  on  the  world  salmon. 

2.  HaiLa  me'yoXuanak-asde  ne'nXuag-iliLak-asde  nau'alakullLa 

That  salmon  real  past  approached  him  real  past  magic  in  the  house 

nau'alakwas’o  nau'alakwas’o  kayo  kayo  yi  yi. 

your  magic  your  magic  hayo  hayo  yi  yi. 

3.  Xau'alakwas’o  kaiLa  g-axeLtse  g-a'g-axs’alis  qas  me'aisilak-asde 

Your  magic  that  they  came  for  coming  ashore  for  chief  of  salmon 

real  past 

qaxs  wIweiLEmlitsEma  amiaxa'laLexloL  nau'alakwas’o  nau'alakwas’o  10 

for  property  too  heavy  to  those  who  praise  you  your  magic  your  magic 

he  carried 

kayo  kayo  yi  yi. 

hayo  hayo  yi  yi. 

TUNE,  RECORDED  BY  J.  C.  FILLMORE, 


710  REPORT  OF  NATIONAL  MUSEUM,  1895. 


haid  haio 


J X I J — • I J —■  I J x I J x J I fy  fly  fy  Jsl  etc* 


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haio  haio 


[To  page  475.] 

SONG  OF  SALMON  WEIR. 


1 1.  La/XdEn  laiyahau/gue,  la'XdEn  laiyahau'gue  hamamai  gua'goL- 

I go  laiyahau'gue,  I go  laiyahau'gue  hamamai  working  at 

tsewalag'ilisk’as’owasqai  golayugulisk-as’owaiqai  mEnaliaxaisk*as’owai- 

my  salmon  trap  real  good  salmon  trap  on  beach  picking  up  out  real  good 

real  good  of  the  trap 

qai,  o’weya'xe  lodupstuts’owilstEmk*as’owai  hamamame. 

the  raven  empty  orbits  in  trap  real  good  kamamame. 

2.  Laxoaix-Laxoaik-amxsLe  LaXsEma/Xde  ya/’yaxoyoqoaxde  le'las- 

Stand  still  stand  still  who  stands  on  top  past  who  make  the  past  whirl- 

tide  rise 

5 taiLaiXde,  ts’nestaLaix-de  wa'wiyak-ilaXde  ya/?yaxoyoqoaXde. 

pool  past,  where  the  tides  his  skirt  past  who  makes  the  tide  past, 

meet  past  rise 

3.  Ha'matsalaqolamXs  Lo'koala  ha'matsElaqoak-asde. 

Crying  hap  supernatural  crying  hap  real  past, 

one 


[To  page  476.] 


SONG  OF  WASP. 

Ha  Soa/nosEns  na/x*ddea  xoa  ha'mtsats’eax  sa  ha/masElatsea;  kawa- 

Ha  do  not  let  us  approach  the  wasp  nest  of  wasp  dancer  great ; it  is  great 


k'asa'nuXLa 

danger. 


THE  KWAKIUTL  INDIANS. 


711 


[To  page  476.] 

SONG  OF  KU'NXULAL. 

1.  Ha/laqalisElala  haiaLllaqasatse'k-asa  yuwaiLla  xa/palisayax 

Rushing  down  the  supernatural  great  real  that  one  grasping 

one 

nE'msqE’makua  le'lqolaLai  haioo  hai  ho. 

one  tribe  haioo  hai  ho. 

2.  Ha/laqalisElala  haiaLilaqasatse'k-asa  yuwaiLla  he'xalisElatsea 

Rushing  down  the  supernatural  great  real  that  one  coming  straight 

one  down  great 

qoa/quLEmlisk-asa  gu'ngoLlalisk-asa  wo'lasqEmlisk-asa  he'iEmutk-asa 

the  one  who  burnt  the  real  making  them  fall  real  in  a great  heap  real  the  rest  of  real 
face  (of  the  tribe)  before  him  food  (dead 

people) 

Ho'Laqanustsek-as  Ku'nkunXuleghses  na/la  haioo. 

Thunder  bird  great  real  Thunderer  of  the  heaven  haioo. 

3.  Ha/laqalisElala  haiaLilaqasatsek’asa  qa/s  leiLos  awuinsqEmslIsEla- 

Rushing  down  the  supernatural  great  real  that  you  go  from  tribe  to  tribe 
one 

k*asLa  layuLaqos  xaxap’alak*asa  g-g'g-iqamemanEXk’asa  s lelqo- 

real  you  went  trying  to  grasp  chiefs  small  real  of  tribes 

laLaLaia  haioo. 

haioo. 

[To  page  476.] 

SONG  OF  KU'NXULAL. — LA/LASIQOALA  DIALECT. 
Ku/nXulaLk-asLexak.  Sak-asLoL’ie  Ku'nXulaLk-asLexai'. 

Thunder  bird  dance  this  will  be.  Wonderful  it  will  Thunder  bird  dance  this  will  be. 

be, 

[To  page  476.] 

SONG  OF  QO'LOC . — LA'LASIQOALA  DIALECT. 

Qoa/la  x*ins  hawInalEla  ts’e'koeaxLEns  g-I'qEmaye. 

Don’t  let  us  drive  him  away  our  bird  our  chief. 

Qau/losk*as’o  k'oa/LaLEla  na/qoLioeis  sEns  na/la. 

The  real  eagle  sitting  on  top  the  middle  of  our  world. 

[To  page  477.] 

SONG  OF  WOLF. 

1.  La/XdEn  g’a'g'alaLguwalisg-fliasa  nun,  yi  hi  hi  a ha  hi. 

I go  to  the  standing  place  of  the  wolf,  yi  hi  hi  a ha  hi. 

2.  La/XdEn  naqoLeolitsEn  lax  g-o'kuas  nun,  yi  hi  hi  a ha  hi. 

I go  to  the  middle  of  the  at  his  house  the  yi  hi  hi  a ha  hi. 

rear  wolf’s, 

3.  Gr-a'xmesEn  wiloLEleisa  nau'alak’uines  nun  yi  hi  hi  a ha  hi. 

Thus  I all  for  me  the  magic  on  the  the  yi  hi  hi  a ha  hi. 

body  of  wolf 

[To  page  477-1 

SONG  OF  WOLF.—  LA'LASIQOALA  DIALECT. 

1.  Ia'yaqElaqulag-asLEn  g*ax  wa/wakullsa  qa/motallsa  qa  s we'ig-iLos 

I make  noise  of  giving  come  barking  on  howling  on  for  you  will 

blankets  beach  beach 

q’oa'xallsLa  wa'las  tEmna'Xua  yos  q’ulyakueyagdlltsis  g-I'g-iqama’ya. 

grow  as  great  the  same  (as  you  the  oldest  one  on  top  chiefs, 

forefather) 


1 

5 

10 

15 


712  REPORT  OF  NATIONAL  MUSEUM,  1895. 


1 2.  Awila  qVlamLai  wa'LdEma  sa  aTanEma  sEns  g'Ug-iqama’ye. 

Wonderful  against  you  the  word  of  the  wolves  our  chiefs. 

Yehei;  ne'x^lae  qants  galnek-EleiLa  p’a'p’aya'yaL  lax  p’a/sag-ilaya 

Tehei;  he  said  we  children  with  us  ashing  him  to  give  to  give  blankets 

blankets 

ma/xoag-ilaya  maoxsistalisax  le'lqoalaLai.  Yihei. 

to  give  blankets  to  give  blankets  to  tribes.  Yihei. 

to  each  tribe  the  whole  world 

3.  HaiajWax’salaiauYEmaiL,  xEns  g*I/g*iqama,ya,  aLoya  gua/yeg-ilisa 

Let  us  try  to  tame  his  face,  our  chiefs,  else  you  will  go  too  f ir 

5 Xua/Xueqalisa  wa'lag'ilaya  nemalisilaya  q’ame'leqag'ilaya  no'ng-eaX- 

swinging  making  life  short  shortening  life  making  fall  highest 

towe.  Yihei. 

wolf  Yihei. 

[To  page  479.] 


Yahe  yahe. 

Yahe  yahe. 


SONG  OF  WOLF. 


QapamaTo  K*ex*a'  nEqamai  yaxs  NoLt’aqalag-ilis. 

He  put  on  his  K-ex-  the  middle  of  the  XoLt’aqa'lag-ilis. 
head  of  the  face 


TUNE,  RECORDED  BY  E.  BOAS. 


Ya  ha  ....  ha  ...  a ya  - a ya  ha  ....  ha 

Beating.  | J J J | J J J | J J J 


. 

~l7  iT  I 

* 1 

ISSv? 1 

r — j 

p j 

P P ^ 

1 1 i 



y 1 

a ya  - a qa  - pa  - ma  - 15  K*e  - x*a  xdx  nE-  qa 

J J * I I -• 


ma  - yaxs  N5l 


ya  ha  ....  ha 

i j j j 


• m • : - « I j'  , ?i ; • ; - ^ ll 

....  a - ya  - a ya  ha  ...  . ha  a ya  - a. 

J J J I J J J I J J 


* II 


THE  KWAKIUTL  INDIANS. 


713 


[To  page  479.] 

SONG  OF  TS’O'NOQOA. — LA'LASIQOALA  DIALECT. 

1.  Ia/  kalselamXdEn  wits’Emg-ilisa  adguLinaig-ilisa  q’aboqolallsa  1 

la ! I was  a little  behind  not  on  time  the  blood  of  murderer  where  a heap  had 

become  putrid 

hai'amota  lia'amot  ya/lag-ilis  g-ax  na/la. 

whom  he  had  rest  of  food  warrior  of  this  world, 
killed 

2.  Haitseq’amaxoL  La/wisilaya  wai'adig-ilag-a  kuexag-iloLa  g-axLex 

You  great  one  made  angry  not  to  take  pity  made  to  kill  to  come 

wkwung-idaLax  ledqolaLe. 

to  make  poor  the  tribes. 

[To  page  480.] 

SONG  OF  TS’O'NOQOA. 

1.  Q’a/q’aLElitsatsea  Ts’o'noqoatsea  haio  dodEmx-itEla  LEdEmg-itEla  5 

Trying  to  carry  on  arms  Ts’onoqoa  great  haio  making  numb  making  dead 

Ts’onoqoatsea  haio. 

Ts’o'noqoa  great  haio. 

2.  Ha/manekuilatsea  dodEmx-itElatsea  hau'ak-as  Ts’o'noqoa. 

Causing  nightmare  great  making  numb  great  dreadful  Ts’onoqoa. 

[To  page  480.] 

SONG  OF  lA'K-lM. 

1.  Q’a/xolitseLalalai  ia'g-imas  g-a  nada. 

He  will  rise  the  ia'k-im  of  this  world. 

2.  P’odiqolamasei  ia'g-imas  g*a  nada. 

He  makes  the  sea  boil  the  ia'k-im  of  this  world. 

3.  Ia/qanig-ustalaLlai  ia'g-imas  g-a  na/la.  10 

He  will  throw  up  blankets  the  ia'k-im  of  this  world. 

4.  Ia/qamg-ustalaLlai  q’a/XulaeneLas  ia'g-imas  g-a  nada. 

He  will  throw  up  blankets  out  of  the  sea  the  ia'k-im  of  this  world. 

5.  Ia'yakiLaLax  ledqoalaLe  ia'g-imas  g-a  nada. 

He  makes  the  face  o_  tribes  the  ia'k-im  of  this  world, 

the  sea  ugly 

6.  La/nsk-iLalaLa  ia'g-imas  g-a  nada. 

We  shall  be  afraid  of  the  ia'k-im  of  this  world. 

[To  page  481.] 

SONG  OF  Sl'SIUL. — LA'LASIQOALA  DIALECT. 

Satseas  laidea  sEns  g-I'qamek-aso.  SlsiuL  laidea  sEns  g-Fqamek-as’o. 

Oh  great  the  dance  of  our  chief  real.  Sis'iuL  dance  of  our  chief  real. 

La'melawesoX  ma/xs’ali'saLax  nE'msqamakdia  ledqolaLai  laidea  15 

He  will,  it  is  said,  cut  in  two  one  tribe  the  dance 

seus  g-Tqama’ya. 

of  our  chief. 

[To  page  482.] 


SONG  OF  CHIEFTAINESS  DANCER. 


1.  AomalaLnoklEns  namoku’malisa  owanxelis  nada. 


Chieftainessdance  we  who  stands  far  ahead  edge  of  world, 
are  told  our  (the  chief) 

2.  AomalaqulatseLElai  ha/mats’ElaqolisLa  o’mayatseLai  Lo'koala. 

Chieftainess  song  great  will  be  ha'mats’a  song  will  be  chieftainess  great  supernatural. 

will  be 


714  REPORT  OF  NATIONAL  MUSEUM,  1895. 


1 3.  La'wulq’alagdlisa  L’eyanalag-ilisa  ao'maXdEmeisos  o^mayatseLai 

Sound  of  copper  ringing  of  copper  place  of  your  chief*  chieftainess  great 

tainess  will  be 

Lo'koalatseLai. 

supernatural  great 
will  be. 

[To  page  483.] 

SONG  OF  GHOST  DANCER. 

1.  Le'laxaisLEla’yuxdE  no'guas  leloaLanak*asde  Lo'koalag'aama. 

We  went  down  I chief  of  the  ghosts  real  thus  I became  super- 

(past)  natural. 

2.  Toaxsai'sElayuXdoXs  leloaLanak-asde  Ld'koalag'lLama  Lo'koala. 

I was  made  to  walk  down  by  the  chief  of  the  ghosts  thus  I became  super-  aupernatural. 

real  (past)  natural 

5 3.  Ais’ak'dttsdXdE  no'guas  ais’ak'awek-aso'wa  qai  le'loaLanak-asde 

Put  pretty  things  on  I pretty  things  on  forehead  the  chief  of  the  ghosts  real 

forehead  real  good  (past) 

Lo'koalag-lLa. 

making  supernatural. 

[To  page  483.] 


SONG  OF  GHOST  DANCER. — LA'LASIQOALA  DIALECT. 


G'a'xEm/laioL  le'loalenox.  Ma'soxs  lEg*itElayos  lelaalenox  La'na? 


I come  to  you  ghosts.  Why  do  you  make  noise  of  ghosts  sense 

takers  ? 

Ma/soxs  lddomutEla’yus  lela/alenox  La/na!  Oa/xk-ElsEla/nai  g*a 

Why  do  you  make  the  house  ghosts  sense  Coming  from  the  beach 

reverberate  takers  ? 


La'Leqailealanai  La/na.  Gr'a'xk-ElsEla'nai  tsVts’eLwaileanai  La'na. 


calling 


sense  Coming  from  the  beach  to  be  famous  sense 

takers.  takers. 


[To  page  483.] 


SONG  OF  GHOST  DANCER. — LA'LASIQOALA  DIALECT. 
10  1.  Wldg'UstaliLtso  La'naXdos  lela/alenox  La/na. 

They  come  out  of  from  you  ghosts  sense 

ground  takers. 

2.  Po'ek*?alaso  LanaXdoXs  lela/alenox  La/na. 

The  voice  of  hunger  comes  from  you  ghosts  sense 

takers. 

3.  Ma/mEnLeatso  LanaXdos  lela/alenox  La'na. 

We  come  to  get  enough  from  you  ghosts  sense 

takers. 


[To  page  484.] 

SONG  OF  NA'XNAK-AQEML. 

1.  La'xolisLaiLaux  q’a/laqolitsos  lia  wa'nXelitses  lo'wa. 

You  will  rise  you  known  by  all  ha  around  the  edge  of  world. 

the  world 

2.  La'xolisLaiLaux  ts’eLwalag*ilis  lax  owa'nxelitses  lo'wa. 

You  will  rise  famous  every  where  at  edge  of  the  world  world. 

15  3.  La'xolisLaiLaux  waiLa'xalag’ilitsa/so  wl'nalag-iltses  lo'wa. 

You  will  rise  being  vanquished  rival  chief  of  the  world. 

4.  Xexsowaix-tig-En  aiyElk’oa'lagdlitsasas  wl'nalagiltses  lo'wa. 

They  say  that  I beg  food  from  the  rival  chief  of  the  world. 


THE  KWAKIUTL  INDIANS. 


715 


[To  page  487.] 

SONG  OF  MA'MAQ’A. 

Wai'eg-a  da/doxsEme  ai  xes  nauaha/lakue  haiya  ha  ha,  ha  ha-i  hai  1 

Goon!  look  around  for  your  magic  haiya  ha  ha,  ha  hai  hai 

ya'ha  a a hai  xes  nauaha/lakua. 

ya'ha  a a hai  for  magic, 

your 

[To  page  487.] 

SONG  OF  MA'MAQ’A. — LA'LASIQOALA  DIALECT. 

1.  Waik-asla!  do'qoaLayaLg-as  nau'alakuahaus  Le'qaLeaig-ilis- 

Go  on ! see  your  magic  you  whose  name  is  over 

all  others  in  the 

k*as’ai. 

tribe. 

2.  Waik-asla!  dadoxsEmeLg-as  qa/minayoL  Le'qaLeaig-ilisk-as’ai.  5 

Go  on ! look  after  your  sacred  implement  you  whose  name  is  over  all 

all  others  in  the  tribe. 

3.  Ya,  heik-ayasmis  wI'osoguilaLg-as  nau'alakuahausyoL  LeqaLeai- 

Ya,  truly  it  is  making  that  they  have  your  magic  you  whose  name 

no  time  to  escape  is  above  all  others 

g-ilisk-as’ai. 

in  the  tribe. 

4.  Ya,  heik-ayasmis  ts’eLtsaguilaLg-as  qa/minayaLg-ausyoL  Le'qa- 

Ya,  truly  it  is  shortening  life  your  sacred  implement  you  whose 

name  is 

Leaig-ilisk-as’ai. 

above  all  others  in  the 
tribe. 

[To  page  487.] 

SONG  OF  T’O'X’UiT. 

1.  We'g-a  x-ins  e'x’uideya.  We'g-a  x-ins  e'x’uideya  a sins  wi'na-10 

Let  us  take  ( ?)  Let  us  take  ( ?)  with  our  what  we 

nEmtseyaqEns  ya. 

gained  in  war  ya. 

2.  K*’esLaxtEn  qoe'qEmxsala  lax  no'LEmaxseE  wI'nalaxdeaxloL 

I did  not  turn  my  face  back  to  those  who  bothered  paddling  for  you 

me 

qa/sta. 

friend. 

3.  Weix-us  max’e'dea,  we'g-ax-us  ma/x’edea  s haisis  qoa/LqoaLag-i- 

Go  on  throw  it  goon  throw  it  yours  that  kills  every 

layos  xu/mtxumtag-ilayos  la/lex-ilits’ayos  wI'nalaxdeaxqoL  qa/sta.  15 

body  that  burns  everything  that  turns  the  world  paddling  for  you  friend, 
face  downward 

4.  AmlaXdEn  he'yaqala  se'xoaqala  lax  be'bEnaqaualisLai. 

Only  I passed  them  paddled  past  at  the  lowest  ones  under  the 

earth. 

5.  AmlaXdEn  ne'xamxsEla  wa/tamxsEla  g-a/xese  xa/xosila  lax 

Only  I pulled  them  into  hauling  a string  of  for  them  to  bail  out  at 

the  canoe  them  into  the  canoe  the  canoe 

yi/nasEla  wi'nalaxdeaxyoL  qa/sta. 

war  canoe  paddling  for  you  friend. 


716 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


[To  page  488.] 

SONG  OF  'FO'X’UIT. 

1 1.  Qoe'sEnxa/laiitsEmXdEn  la/XdEn  qoesEnxalaiitsEms 


I have  been  at  the  far  side  of  the 
world 


I have 
been 


I on  the  far  side  of  Ihe 
world 


hainoma 

true 


naualakue'  laXdEn  qoe'sEnxElets’Emsia  ai'k-as  ai  ai  naualakue'  we  we. 

magic  I have  I on  the  far  side  of  the  real  ai  ai  magic  we  we. 

been 


I on  the  far  side  of  the 
world 


2.  Wilo'LElesaXdEn  laXdEn  wi’loLElesaX  nanualakwena'ek-a’sa. 

I got  all  I did  getting  all  kinds  of  magic  on  body  real. 

Oa/XdEn  wkloLEleisayaqeia  ai  ai  ai'k-as  nau/alakue  we  we. 

I came  getting  all  ai  ai  real  magic  we  we. 

5 3.  Xa'x'OLaleisaXdEnj  g*a/xdEn  na/x-oLaleisayax  nanualak’uenai'- 

I got  everything,  I came  I got  everything  all  kinds  of  magic  on 

k*asa  heya.  G*a/xdEn  nax*oLaleisaqea  ai  ai  ai'k'as  nau'alak’ue  we  we. 

body  heya.  I came  I got  everything  ai  ai  real  magic  we  we. 

real 

[To  page  492.] 

SONG  OF  O'LALA. — LA'LASIQOALA  DIALECT. 

1.  Q’a/laqolitsoXdEnaya  laix-dek-  lag*aLElai  lax  ts’exp’eqtsea  lax 

The  world  knows  me  when  I reach  at  the  pole  of  the  at 

winter  ceremonial 

ts’a'tsaeqalask'asai. 

the  winter  ceremonial  real. 

2.  QEdtitsImasiLayaweiXos  qE'ltitsiyoLai  qE'ltoyowais  Iowa. 

Hold  up  your  great  one  your  post 


post  in  the  middle  world, 
of  the 


10  3.  AlomitsimasiLaya  heyalie  weiXos  alomitsiyoLai  alX’aayE'ms 

You  who  keeps  solid  heyahe  you  keeping  solid  who  holds  firm 

lo'wa. 

the  world. 

4.  QaGaxetsimaslLai  lax  qa/laxeasos  qa/laxeams  lo'wa. 

You  are  interlocked  like  to  you  who  is  inter-  interlocked  world, 
logs  locked  support  of 

5.  Q’autitsimasiLai weiXos  q’o'titsIoLai  q’au'toyowais  Iowa. 

You  keep  from  falling  down  keeping  from  support  of  the  world, 
falling 

[To  page  494.] 

SONG  OF  TS’E'K’OlS. — LA'LASIQOALA  DIALECT. 

1.  OmataLa/lag-ila  qa/minatsetse'aqos  ia ! 

Make  silent  the  sacred  im-  great  your  ia! 
plement  inside 

15  2.  LeLexqa'lag  ilitsux  tEmklqoaLalaXus  nau'alaqtseaqos  ia. 

Everybody  names  you,  let  it  be  quiet  your  great  whistle,  ia, 

3.  LeLexk’a'lag-ilitsux  haiaLilaqas. 

Everybody  names  you  shaman  woman. 

[To  page  494.] 

SONG  OF  Sl'LlS. — LA'LASIQOALA  DIALECT. 

Heie  ia/nai  heye. 

Heie  ia/nai  heye. 

1.  Ya/satsea  sEns  q’a/laiteya! 

How  great  our  famous  one ! 


THE  KWAKIUTL  INDIANS. 


717 


2.  Ya'satse  wi'st/Ens  Le'qalaidea!  1 

How  great  our  » named  one ! 

3.  G-a/xaxsalaiLo  g-i'lEms  na/noalak,  Ya/satse  wI'st’Ens  Le'qalaidea ! 

He  comes  in  his  the  magician.  How  great  our  named  one! 

canoe  dreaded 

4.  Ya  k*’esk*aiasLES  no'lneqalaLa  k-’ek-aleqalag-as  Lo'koetseak*as 

Ya  not  be  troubled  be  afraid  of  the  great  super- 

natural one 

qa'laitea. 

the  famous 
one. 

5.  G’a/g-aiqEmayaLg-as  sI'siuLg-a  s Lo'koetseaLg-as.  5 

Go  to  the  head  chiefs  sI'sIul  the  great  supernat- 

ural one. 

6.  Ya/satse  wist’Ens  Le'qalaidea! 

How  great  our  named  one ! 

7.  G*a  ne'XsoaiXdeX  guaguanXs’alag-lL  hakaLilaqas. 

She  said  to  me  gave  me  advice  the  shaman  woman. 

8.  G-a  ne'XsoaiXdeX  hama'neXsolitsEns  hai'aLilaqas. 

She  said  to  me  we  treat  each  other  the  shaman 

carefully  woman 

9.  Ya/satse  wist’Ens  Le'qalaidea! 

How  great  our  named  one ! 


[To  page  497.] 

SONG  OF  HAFALlK-lML. 


1.  Ts’a'eqaueda  tsVtsaeqaueda  ye  ya  haa.  10 

To  whom  all  go  for  to  whom  all  go  for  the  ye  ya  haa. 
the  winter  cere-  winter  ceremonial 
monial 

2.  He'ilik-aueda  liailik*aueda. 


3. 

lisa. 


To  whom  all  go  for  to  whom  all  go  for 
the  he'ilig-a  the  he'ilig'a. 

Ha  goa/LEla  amo'Llai  q’anexLaiyaigd'litso  p’a'LpaLEms  ya'lag-i- 

In  the  beginning  you  spread  wings  over  your  head  which  you  used  the  one  who 

for  flying  always 


travels. 

[To  page  498.] 


SONG  OF  HAFALIG-ILAL. — LA'LASIQOALA  DIALECT. 

Ai  au  aia  au  Lo'koalai  ya  ai  ya. 

Ai  au  aia  au  supernatural  ya  ai  ya. 
one 

1.  Haialig-ilaqulesk-asLEla  Lo'koala  ts’a/tsaequlaqulisk‘asLEla  lo'-  15 

Haialig'ilaL  song  real  supernatural  winter  ceremonial  song  real  super- 

one  natural 

koala 

one. 

2.  A'lak*asLowisLas  qoI'LaxElask-asLoL  Lo'koala,  a'lak-asLowisLas 

You  truly  will  be  the  one  you  who  will  be  untied  supernatural  you  truly  will  be  the 

one,  one 

eyawa/lask*asLOL  Lo'koala. 

you  to  whom  they  speak  supernatural 
about  their  wishes  one. 

3.  A'lak’asLowisLas  ma'mEnLeask*asLoL  Lo'koala. 

You  truly  will  be  the  you  whom  they  will  ask  for  supernatural 
one  plenty  of  food  one. 


718 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


[To  page  498.] 

SONG  OF  WA'TANEM. — LA'LASIQOALA  DIALECT. 

1 1.  WixsEletseLoX  ts’eLwume’stalis. 

Not  go  into  (Wina'la-  you  who  is  known 

g'ilis’s)  canoe  everywhere. 

2.  WixsEletseLoX  Le'qume’stalitsexa/na. 

Not  go  into  canoe  whose  name  is  known  every- 
where. 

3.  G’ilEmk’asaxs  na'noalaXua/na. 

Fearedby  all  magicians. 

4.  A'tsoak-asa  gu'lEink-asaxs  na'noalaXua/na. 

Great  real  feared,  by  all  magicians. 

[To  page  502.] 

5 1.  G*axaix*tex*  g-axaitwaitsos  ya  a he  he  hu  ya  ya  he  he  hu. 

He  comes  here  he  comes  down  ya  a he  he  hu  ya  ya  he  he  hu. 

2.  G*axaix*tex*  wa/’latwaitsos  ya  a he  he  hu  ya  ya  he  he  hu. 

He  comes  here  he  rests  at  the  foot  ya  a he  he  ha  ya  ya  he  he  hu. 
of  the  precipice 


TUNE,  RECORDED  BY  J.  C.  FILLMORE  AND  F.  BOAS. 


u 


G*a  - xaix*  - tex*  - g*a  - a xai  - twai  - tsos  ya 
Clapping.  2 J"J  / etc. 


a he  - he  hu  ya  ya  he  - he  hu  ya 


— •, n 

. ii 

\)  1 ! ! 

-Ml 

xAJ  o • J # 

~4  • j | 

U 

t)  0 

ha  a ya 

.0. 

ya  - a 

w -# 

ya  • 

- + - 
he 

-73T 

hu. 

[To  page  505.] 

Sola’s  qastaya,  sola’s  qasta  yaiyi  ya  ya  a ya  yaa. 

You  friend,  you  friend  ya  ya  a ya  yea. 

Xaualaxs  qasta/ya  naualaxs  qasta  yaiyi  ya  ya  a ya  yaa. 

Magician  friend  magician  friend  ya  ya  a ya  yaa. 


TUNE,  RECORDED  BY  ,J.  C.  FILLMORE  AND  F.  BOAS. 


ya  ya  a ya  ya 


ya  ya  a ya  yai 


THE  KWAKIUTL  INDIANS. 


719 


[To  page  505.] 

1.  INex^ana's  ya  ha  ya  a hai  a ye  a a yaak*ala  yiya  ha  hag'ila  LEle/-  1 

You  said  that  ha  ya  a haia  a ye  a a had  weather  yiya  ha  hag'ila  cap- 
you 

yiya  ha  qeyo'LtEnox  g#ax  hei  hee  ha/nqame  yi  ya  hag'iLEla  a hai  a 

size  ha  we  a long  time  here  hei  hee  canoe  in  front  yi  ya  capsize  in  a hai  a 

of  beach  rough  weather 

qaste. 

friend. 

2.  Nex*’anas  ya  ha  ya  a haia  a ye  a a yaakhla  yiya  ha  hag'ila 

You  said  that  ha  ya  a haia  a ye  a a had  weather  yiya  ia  hag-ila 

you 

LEle'yiya  qeyo'LtEnox  g*ax  hei  hee  mexayayl'ya  hag-iLEla  a hai  a 5 

capsize  we  a long  time  here  hei  hee  sleeping  v capsize  in  a hai  a 

rough  weather 

qaste. 

friend. 

TUNE,  RECORDED  BY  J.  C.  FILLMORE  AND  F.  BOAS. 


^ ' (Flourish.) 


han-qEma  yi  ya  ha  g i-Ela  a hai  a qas  - te.  , , 


720 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


[To  page  505.] 

Xex'soai'k-qau  halakai'yuXuya'tseyas  nau'alauxtsEle. 

He  told  me  means  of  killing  by  his  teeth  magic  great. 

TUNE,  RECORDED  BY  J.  C.  FILLMORE,  1892. 


# = 112.  ,K  F 


Rapid  beating. 
Nex*  - soai'k* 

- qan  hala  - hai  - yu  - xuyaa  - 

Slide. 

0-'-  T .H 

tseyas  nau'alaux  - tsle  yi  ai  yi  he. 


TUNE,  RECORDED  BY  F.  BOAS,  1894. 


J=112. 

K ^ 

IS  /Ts  K 

)•.  \)  ■ 

r_ ~ m m r m *2 • t* 

C-7b  1 [ 

[ j / 

1 — | 7 |“  wi  j > 

\L\l — 

Nex*  - 

soai'k*  - qan 

halahaiyu  - xuyatseyas 

f vrr*.  m 

& r r L i_i 

| r # • w r 7?  t r~  g 

nau'a  - laux  - tsEle.  (spoken.)  ai  ai  hai  hai  hai. 

[To  page  507.] 

XanLEx’etg-ila  heya  na'nuLElx’etg-ila  heimx-Lai  qoaya'lag’ila. 

They  make  us  confused  heya  they  make  us  confused  that  is  that  causes  it. 


TUNE,  RECORDED  BY  J.  C.  FILLMORE  AND  F.  BOAS. 


Na  - nit  - eLx’  et  - gyi  - la  he  ho  ye  ya  e ye. 
Rapid  beating.  etc. 


ye  e - eLx’  et  - gyi  - la  a ha  a he-  wux  e lai  e ye  e 


P*E 


mis 


he-gyil-se  qoa-its-tan  a ai  ha  ai  he-qoa-ye  la  he  i ye. 


THE  KWAKIUTL  INDIANS. 


721 


[To  page  507.] 

Nex*sowaiXqan  lalaXsawamatso  hos  nau'alaq  6 no'gua. 

He  saicl  to  me  lie  was  going  to  make  with  magic  poor  me. 

me  go  through  (the  his 
ma'wiL.) 


TUNE,  RECORDED  BY  J.  C.  FILLMORE  AND  F.  BOAS. 


Nex*-  soai  - ai  - ix*  - qa  - an  ha  a ya  a ha  ha  aLe  la  . . 


Rapid  beating. 


— — I 1 — i 9 1- 1 — I 

ha  a ha  ha  qe  ya  a hai  Las  na  - wa  - la  - ak  o - 


^ mm 

„ — ^ 

# = -P— a —P—1 — ] — g — ^ ihrf 

L £ C-  CsiL>  ^ ^ 7JLJ  P V 

n5  o . . . 

5 o 5 gua  haai 

Lax  qoa  - 1; 

a a yu 

* =p±f—fa--~ 

-*+*-*- 1| 

p r 1 f— 

M — — 1— ^ a a — 

U_0 u 

u le  da  a wa - i wa  - i yaaa  yaaa  wa  - i wa  - i yaa. 
[To  page  508.] 

Ha  nEmo'XmEn  ts’a'eqa  yi'ya,  ha  iiEmo'XmEn  ts’a/eqa  yi'ya. 


Ha,  I am  the  only  ts’a/eqa  yl'ya,  ha  I am  the  only  ts’a/eqa  yl'ya. 

TUNE,  RECORDED  BY  J.  C.  FILLMORE  AND  F.  BOAS. 

;g  ,j  c ^ m — jt. 


Ha  be-  moX-mEn  guai 

Seating  § § ^ #*  b b b b b etc. 


a he  ha  a ha  nE  - moX  - mEn  guai  tsae  - qa  yi  ya 

NAT  MUS  95 46 


722 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


yi  i • 


a ya 


ha  . 


yai  a he 


m 


*- 


ha  nE-m5X-  mEn  yu  he  ...  e he  - e - e. 


[To  page  508.] 

1.  LalaxsEVamatsoXdEno'guas  BaxbakualanuXsI'wae  laxsowag-ila 

He  makes  me  ts’a/eqa  me  BaxbakualanuXsI'wae  lie  makes  me 

enter 

hao. 

had. 

2.  Q’oa'q’ulx'SE’wamatsowamo  q’ulx*sEwag*ila  q’ulXsEwag-Ila  wa. 

He  makes  me  pure  making  pure  , making  pure  wa. 

3.  Ha  k^eohosLa/noya  aia/me'lala  q’oalaliag-IheeLawo. 

Ha,  not  I spoil  (life)  I t-lie  life  maker. 


TUNE,  RECORDED  BY  J.  C.  FILLMORE  AND  F.  BOAS. 


1.  La-la  - ax 

2.  Qoaqa  alxs 


ha  wa 
ha  wa 


ma  a tswa  noX  Bax  ba 
ma  a tswa  noX  Bax  ba 


!SE 


ha 

ba 


ku  al  a 

ku  al  a 


nuX 

uuX 


wa 

wa 


lax  swa  he  yi  i 

qulx  swa  he  yi  l 


he  i la  wu  wa  wa  wa 

he  i la  wu  wa  wa  wa 


i wa  l wa  l 

l wa  i wa  l 


i.  3.  Ha-k”e  5 h5 


m 


5 hd  61  gua  ya  ai  a a ya  . . ine  e 1e  - la 


!b= 


zzfcz 


ho  a La  nd 


la  he  y5 


$ie 


6 ho  — La 


wai  hi  wai  I wa  - i. 


THE  KWAKIUTL  INDIANS. 


723 


[To  page  509.] 

1.  Halan  wewa/L’eqalaiyi,  halan  wiwaL’eqalaiyiye  balance  hala- 

My  mind,  is  not  strong  enough.  my  mind  is  not  strong  enough  hala- 

we'ya. 

we'ya. 

2.  Halan  k*ik*a/layeyai,  halan  k*ik-a/leqalaiyiye  halanwe  halawe'ya. 

My  mind  is  afraid  of  it,  my  mind  is  afraid  of  it  halawe'ya. 

3.  Halan  doxnaLElayeyai  halaits’aihakaq’enesia. 

I have  seen  it  his  winter  ceremonial. 


TUNE,  RECORDED  BY  J.  C.  FILLMORE  AND  F.  BOAS. 


II 

io 

(3  • 

m K 

m m m 

r m 

l^i  V ^ m i 

v r r r 

Rapid  beating. 

1.  Ha  - Ian  we 

- wa  - 

Le  - qa  - 

le 

ye  eye 

ye 

2.  Ha  - lan  k#i 

- k*a  - 

le  - qa  - 

la 

yai  iyi 

ye 

3.  Ha  - lan  do 

- xu  a - 

a ~ le  - 

la 

ye  eye 

ye 

ha  - 

lan 

we 

- wa 

- Le  ■ 

• yaa  - 

qa  - 

le 

hi 

ha  - 

lan 

k*i 

- k*a  - 

le 

a 

- qa  - 

la 

a 

ha  - 

lai 

ts’e 

- ts’ai  - 

ha 

- he 

- qe  - 

ne 

si 

-I- 


-* &- 


ha 

- lan 

we 

- wa 

hi  i 

ha-  lan  wi 

- wa 

hi 

I. 

ha 

- lan 

k*i 

- k*a 

hi  i 

ha-  lan  k*i 

- k*a 

hi 

l. 

ha 

- lai 

ts’e 

- ts’ai 

hi  i 

ha-  lai  ts’e 

- ts’ai 

hi 

i. 

[To  page  512.] 

TUNE,  RECORDED  BY  J.  C.  FILLMORE  AND  F.  BOAS. 


;=7  2. 

Slide  Simile. 


Rapid  beating. 

W5  wo  ai  a ai  a kyas 


ai  kyas  me  - La  ai ai ai  - kyas 


Slide. 


me  - La 

0 0 0 


ai... o liai  6 

S*  S'*  I S*  /*!-•!-  jVK 


724 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


[To  page  525.] 

1 A a nauala/q,  a a a nauala/q  hu. 

A a magic  a a a magic  hu. 


TUNE,  RECORDED  BY  F.  BOAS. 


A a 5 

a a 5 naua  - a - a - 

m r 5 -s:r 

— i 

lak  a a a nau  - a - a * lau  - ku  hu 

Intervals  throughout  doubtful. 

[To  page  527.] 

kAnqalalala  SONG. 

1.  Yiya  ham  ham  ham  ham  ham  ham  ham  ham  ham  ham  ham  ham 
yiya  ha. 

Xo'gua  ahaik*as  haialig-ila  q’oa'yag*lLk*as  BaxbakualanuXsi'wae. 

I real  tamer  I say  tor  BaxbakualanuXsI'wae. 

5 2.  Yiya  ham  ham  ham  ham  ham  ham  ham  ham  ham  ham  ham  ham 

ham  ham  yiya  ha. 

Xo'gua  ahaik-as  ma/mutsegdla  q’oa/yaguL  BaxbakualanuXsI'wae. 

I real  pulling  (red  cedar  I say  for  BaxbakualanuXsI'wae . 

bark)  from  his  back 

[To  page  527.] 

SONG  OF  THE  HE'LIG-A. 

Hama  maie  qa  s laix-dea  haialik-imaxalisaiyasoxdoxs  Lokoalag-i- 

Hama  maie  for  he  goes  to  press  down  his  wildness  for  you  for  me  superna- 

Lawo;  ham  a. 

tural  one  hama. 

[To  page  535.] 

10  Xomeya'  nomeya/  nomeya'  nomeya/. 

Old,  old,  old,  old. 

XumestalisElayuXdoXs  na/noalakoa.  Xomeya/. 

Old  going  all  around  the  world  with  magician.  Old. 


TUNE,  RECORDED  BY  J.  C.  FILLMORE  AND  F.  BOAS. 

116. 


N5-  meya,  n5-  meya,  nd  - meya  no  - meya.  Nu-mes  - taliselayuX  - d5Xs 
Beating  ^ js|  etc. 


na  - noa  - la  - kwa.  N5-  meya  no  - meya  no -meya  no- meya  no  - meya. 


THE  KWAKIUTL  INDIANS. 


725 


[To  page  538.] 

L’E'SELAG'FLA  O ALO^LENOX. 

Mink  and  wolf. 

La/wayoguila  lae  L’e'sElagdda  a/Leg*aas  Qalogwis  g’o'xdEmsa  sa 

Salmon  trap  made  it  is  mink  back  of  Crooked  Tillage  site  of 

said  ' Beach  the 

Kwa/kiuL.  Ts’e'ts’eqa  lae  da  na/Xua  qa  is  g-a/yimolas  a’mE'nqawak". 

Kwakiutl.  "Winter  dance  it  is  all.  of  different  picked  out  from 

said  % each  village. 

Laam  la'wis  x-isa'Le  LoLaElqama/yas  aLo'denox.  Ladae  medLe  da 

Then  it  is  they  had  the  chief’s  sons  of  the  wolf.  Then  it  is  doing  mis-  the 
said  disappeared  said  chief 

x-isa/Lax  La/wayos  L’e'sElag-ida.  Ladae  yuduxp’EnXoas  medLax 

those  who  had  the  salmon  mink.  Then  it  is  three  days  they  did 

disappeared  trap  of  said  mischief 

La/wayos  L’e'sElag’ida.  Tsdxbla  lae  na/qaya  s L’e'sElag'ida  qa  es 

the  salmon  mink.  Sick  it  is  the  heart  of  mink  for  his 

trap  of  said 

La/wayos  medLasEwae.  La/lae  L’e'sElag-ida  aa/xselax*dt  xes  na/qae 

salmon  trap  being  done  mis-  Then  it  is  mink  resolved  his  mind 

chief  to.  said 

qa  s le  ha/qoalax  ya/le  xes  La/wayo.  Laam  la/wesexa  la  qa/nuL’it. 

to  go  watch  what  his  salmon  Then  he  went  when  it  grew  night, 

did  weir. 

Wune'Ems  xes  La/wayo.  Oax  lae  hoxwuL’EdsEla  leda  moku  xdsa/La. 

Hiding  at  his  salmon  They  it  is  they  were  vomited  they  four  who  had  dis- 

weir.  came  said  out  of  the  woods  appeared. 

Hena'kula  am  la/wis  la/xa  La/wayo.  He'x’dda  am  lawise  da  x-isa/La 

They  went  it  is  said  to  the  salmon  At  once  it  is  said  the  who  had 

right  up  weir.  disappeared 

ax’eddax  xa  mELedk-  ma/ts’o  sa  La/wayos  L’e'sElagdda.  La/lae  nink*’- 

took  the  sockeye  gone  into  of  salmon  mink.  Then  it  is  he  said 

salmon  trap  the  trap  of  said 

ex’ede  L’esElagbda:  Sa/eL  ya/la  xeii  La/wayo;  la’amsk-’edax'dLEq  nen- 

to  himself  mink:  You  did  so  to  my  salmon  then  you  struck  with  he  said 

trap ; weapon 

k*’ex’edalat’a  L’e'sElag-ida  adma.  La/lae  k’us’Edsi  da  LoLaEdqamaya’s 

to  himself  however  mink  only.  then  it  is  they  sat  on  the  chief’s  sons  of 

said  the  ground 

aLo'denox  qa  s Im/mx-’ide  xa  mELe'kd  k*dlk*?a/x-iq.  La/lae  La/xulse 

wolf  and  they  ate  the  sockeye  raw.  Then  it  is  he  arose 

salmon  said 

L’e'sElag-ida  qa  s wu'nwix-ddeq  qa  s k-’elax-ddeqexs  mo'kua.  Ladae 

mink  to  hide  in  back  to  club  them  four.  Then  it  is 

said 

qa/x-’idEq.  Wi'daEin  lae  qa/x-’idEqexs  mo'kua.  Ladae  ne'nakue  L’e'sE- 

he  cut  their  All  it  is  he  cut  their  four.  Then  it  is  he  went  mink 

heads  off.  said  heads  off  said  home 

lag-ida  dala  xa  mo'sqEm  xawe'qum.  K-’es  qa’aLe's  k-’edak*’enaya;  k*’es 

taking  the  four  skulls.  Not  it  was  he  clubbed  them ; not 

known 

qa/lis  abE'mp.  Laa'm  lae  k-ik-blnalaLe  da  aLo'denoxoa/xa  haidoxsaL. 

she  his  mother.  Then  it  is  they  were  going  the  wolves  at  two  days  hence, 

knew  said  to  bring  back 

La/lae  laastot  lax  kdkddnalaxdEm  Lasa  ledqolaLae.  Xa/Xua  qa  s 

Then  it  is  the  time  for  bringing  back  these  tribes.  All  to 

said  came 

g*a/yamolas.  Q’udiagoades  K’uekiiaxa/wae.  Kde'samXde  na/x-’idaxs 

from  different  Old  man  was  K’uekuaxa'wae.  Not  it  was  daylight 

tribes. 


1 

5 

10 

15 


726 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


llex*des  L’e'sElagdda.  LExVit  qa  s le  lax  Me'mkumlis  La'wayoguila 

he  went  mink.  He  started  for  to  go  to  Me'mkumlis  he  made  salmon 

in  a canoe  trap 

lax.  La/lae  qoa/Le  La/wayoguilas  p’ao's  lae  La/wayos.  La/lae  qa/s’ide 

there.  Then  it  is  done  making  salmon  weir  stone  it  is  his  salmon  Then  it  is  he  walked 

said  dam  said  weir.  said 

L7e'sElag-ida  qa  s k’oa/g-aale  la/xa  t’e'sEm.  Do'qoaLa  xes  La/wayo: 

mink  to  sit  on  rock  on  the  stone.  He  looked  at  his  salmon  trap : 

“Ma'sos  mats’oweq’os  La/wayowe?”  u Qadna'spets’a/owesek-  k’ama'- 

“Wbatyour  fish  in  your  trap  salmon  trap?”  “What  little  little 

5 pets’ok-uX.”  La/lae  quL’e't  xes  x*5ms:  ‘‘Yo'koas’oEm  sknn  La/xu- 

bullhead.”*  Then  it  is  he  his  head:  “ O,  that  is  pretty  I I work 

said  scratched 

malag'iliseLEn  La'LawawuxsilagdLo.  Ts’ExstE'nda’xLelaq11.”  La/lae 

hard  on  the  beach  looking  after  the  salmon  Throw  it  into  the  water.”  Then 

trap  for  it. 

e'tsaq":  uMa/sos  mats’oweq’os  La'wayowe  u Qadna'spets’a/owesek. 

again:  “ What  your  fish  in  your  trap  salmon  trap?”  “Whatlittle 

p’a/espetsoku.  (etc.  It  catches  in  turn : ts’E'mqoapets’ok11,  xudqumpets’oku, 

little  flounder.  (etc.  It  catches  in  turn : little  eel,  little  dogfish, 


Ladnopets’ok",  g'o'maSapets’o-k11,  ts’Ewu'npets’ok",  qoa'xnispets’ok11, 

little  perch,  little  silver  perch,  little  cohoes  salmon,  little  dog  salmon, 

10  hano/npets?oku,  g-ixoa'pets’ok11,  sa/tsEmpets’ok",  sUsiuLpets’ok11.  Then 

little  humpback  salmon,  little  steel  head  little  spring  salmon,  little  sx'siuL.  Then 

salmon, 

aYu/wis?  ytVwis,  yu'wis,  yri/wis.”  Aix*dte  na/qaes 

“ That  is  it,  that  is  it,  that  is  it,  that  is  it.”  G-ood  was  his  heart 


mink  says:) 

mink  says :) 

L’e'sElag-ida. 

mink. 


Ladae  k’uds’etax  qa  s axsEmledse  s’a  sI'siuL  la'xa 


Then  it  is  he  took  it  out 
said  of  the  trap 


put  it  on  the 
rock 


tVsEtn. 

stone. 

ya/nEm. 

game. 


Ladae  L’e'sElag-ida  L’Exui't  xa  q’oa'x  qa  tVg*ix  tses 

Then  it  is  mink  broke  off  the  hemlock  for  layer  for  his 

said 

Laam  nenpXL  laxis  g*o'kue  Qa/logwis.  La/lae  lag-adis 

Then  he  went  to  his  house  Qa'logjvis. 
home 


Then  it  is  he  went 
said  ashore 


15  qa  s lo'Ltoe. 

to  go  out  of 

the  canoe 


Koa’leL  am  lawise  abEdnpas.  La/lae  ya'q’egm'Le 

She  lay  it  is  said  his  mother.  Then  it  is  he  spoke 

down  said 


LVsElagd’la : 

mink: 


“Qoa'Ltsos  he  qoae'Le  ha'tso’qa  s lao's  qaxs 

“Do  not  stay  here  grand  for  you  go  to 

mother 


x*ix*Vta  xEn  ya'nEme’x.”  Ladae  abE'mpas  lE'nts’es.  Ladae  la'g'eqElisa 

carry  in  its  my  this  game.”  Then  it  is  his  mother  went  down  Then  it  is  she  went  along- 
gills  * said  to  the  beach.  said  side 

xa  Xua/k’un.  La/lae  wax*  dox’oaLaxs  xa  Xua/k’un.  A'Em 

the  canoe.  Then  it  is  in  vain  she  looked  the  canoe.  Only 

said  into  canoe 


lawise  abE'mpas  L’e'sElag’ida  sEdsEluxs’alis  laa/LEqEmaLis  x*o'mste. 


it  is  said  his  mother  mink  became  twisted  on  it  turned  backward 

the  beach 

20Xa/Xua  le'x'dtEns  o'guitae.  La'e  do'x’oaLEla  xa  sUsiuL. 

All  it  turned  over  her  body.  It  is  she  looked  at  the  si'siuL. 

said 

nano'kuleLe  i/e'sElagdda  abE'mpaxs  xE/nLElae  la  qaLa. 

he  became  tired  mink  his  mother  staying  too  long, 

of  waiting 


her  past 
head. 

La/lae 

Then  it  is 
said 

Ladae 

Then  it  is 
said 


THE  KWAKIUTL  INDIANS. 


727 


La/xoleLe  L*esElagdda  qa  s le  do'xuidE  xes  abE'mp.  Ladae  do'x’ua-  1 

he  arose  from  mink  to  go  look  for  his  mother.  Then  it  is  he  be- 

the  floor  said 

LElaxes  abE'mpaxs  amae  sEdsEluxs’alis.  “Aba  ha  ha  ha,”  ne'xdat’a 

held  his  mother  only  twisted  on  the  “A  ha  ha  ha  ha,’’  said  however 

beach. 

L’e'sElagdda  da/LEla  ses  abE'mp.  u^oa/yadE’s  ha/ts?awe.  A 'Em 

mink  laughing  at  his  mother.  “Just  so  grand  Only 

mother. 

mo'niElq’o.”  A'Ein  lawise  L7e'sElag*ida  da/x*?it  xes  abE'mp  qa  s 

you  are  too  glad.”  Only  it  is  said  mink  took  his  mother  to 

na/qame’stEndex  Soe/LSoelEs  xa  la'xde  sE'lqoamesta.  Hai'Em  lawise  5 

set  them  aright  her  limbs  the  there  twisted  around.  He  it  is  said 

L’e'sElagdda  qaXsala  xa  sI'siuL;  la  lo'stits.  La'lae  k*,eqayi/ntses 

mink  carried  at  the  sI'siuL;  be  went  up  from  Then  it  is  he  put  it  on  a box 

gills  the  beach  said 

ya/nEm  laxa  xatsE'm.  Laa'm  lae  tsa'qua. 

the  game  on  the  box.  Then  it  is  it  became 

said  evening. 

Laam  lae  kue'xala  Le  da  kdkd'lnElaLaxa  laxa  Sa'nuL.  Laa/m  lae 

Then  it  is  they  beat  they  the  lcik-i'lnala  at  the  night.  Then  it  is 

said  time  were  said 

going  to 

kue'xale  da  kdkd'lnala  qa  eda  le'LaL  Levada  k^edag-uxs  L’esElagdda. 

they  beat  the  k-iku'lnala  for  the  expected  the  dead  killed  by  mink, 

time  in  vain  ones 

“La’mEns  lienax’aleLai'  pepaxalai'  LEle'LaalaL  xEns  q?a'laLla.”10 

“We  will  try  in  house  to  shamans  calling  with  music  our  ts’a'eqa 

bring  back  novices.” 

La/lae  da  nEmo'kue  L’a'yu’tsaqoa : “LamEns  wuLaxoLai'  pepaxalai' 

Then  it  is  the  one  replied:  “We  will  beat  the  boards  shamans 

said  in  vain 

k-iloElaL  xEns  q’a/laLla.”  La'lae  da  nEmo'kue  L’a'yutsaqoa : “LaEms 

bringing  our  ts’a'eqa  Then  it  is  the  one  replied:  “You 

back  novices.”  said 

xosit’eLai'  nenEmokoai' ! ” La'lae  ya'q?eg*aLe  da  a'lxLae:  “La'Las 

wash  your-  friends!”  Then  it  is  spoke  the  last:  “ You  will 

selves  said 

nanElqEmleLoLak  yayilameXoai' ; nanEmtsaEmLEnsai'.” 

face  the  rear  of  the  house  uninitiated  ones;  we  will  go  in  before  dark.” 

Laa'm  lae  noLq’alagdliLe  da  kdkd'lnElaxs  k*’easdexmae  wuLa'x’a- 15 

Then  it  is  they  gave  it  up  in  the  k-ik  i'lnala  not  there  they  heard 

said  the  house 

LEle  da  ho'Laq’Esa  xes  sesnatalagdliL.  “MadsEns  gdqamayaEns 

it  the  listeners  theirs  what  they  were  trying  “What  our  chief  our 

to  obtain. 

g-a/xtsog-axd'  K*e'x*a.”  Laadn  lawis  qa's’etsa’wa.  Laa'm  lawis  goa'Le 

let  him  come  E>ex\”  Then  it  is  they  went  after  Then  it  is  done 

said  him.  said 

k’ue'xayas  K*e'xd  lewis  naLnEmuot  yix  ma/yusustalagdlaku  T;oma'xayo 

what  he  in-  E/ex*  and  his  cousins  that  raccoon  and  killer 

vented  whale 

to  tame'nas.  Ha'imis  woq’oa'se  Ts’Esta'yuqoa.  Ladae  ma'yusustalagd- 

and  squirrel.  She  his  sister  Ts’Esta'yuqoa.  Then  it  is  raccoon 

said 

laku  qa's’it  qa  s le  k-’uxsotax  o'notsExstaya  sa  kue'xalatse.  K7usto'de20 

went  that  he  went  pulled  out  in  the  rear  corner  of  dancing  house.  They  sat  in 
(board)  the  house  the  hole 

ma/yusustalagdlaku  to  tame'nas  la'xa  k-’uxsEwaku.  Oax  lae  K-ex* 

. raccoon  and  squirrel  at  the  board  pulled  out.  He  came  it  is  E>ex- 

said 


728 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


lyix’ul't  nEina’L’etbedo  lat’a  yix’ui't  laai  Xue'laqawuls.  G*a/x  lae 

lie  danced  a short  time  however  he  danced  it  is  said  he  went  out.  He  came  it  is 

said 

eidiLe  K*ex*  qa  s yix’uI'deE.  Yix’uemeLtsoses  wi'waq’oa: 

again  into  K-ex*  to  dance.  He  danced  with  them  his  sisters: 

the  house 

Qa'qaxaLa/la  Ts’Esta/yoque. 

Spread  your  legs  Ts’Esta'yoqua. 

La'lae  Xue'laqawulse  K*ex*.  G*a'xlae  Xue'laqeLe  K*ex*.  Laa'm 

Then  it  is  he  went  out  K-ex*.  He  came  it  is  he  went  into  the  K-ex*.  Then 

said  said  house 

5 lae  q’oala'LaLa  xes  yixu'mL.  Yixu'mLades  x*o'msas  Lo'LaElqamex*des 

it  is  he  hid  his  mask.  His  mask  the  heads  of  the  chief’s  sons 

said 


aLo'denox.  La'lae  q’a'mt’etsos  sa  q’E'mtEmeX : 

of  the  wolves.  Then  it  is  they  sang  his  song : 

said 

Qapama/lo  K*ex*axo  LoLaE'lqamex*dexs  aLo'’lenox. 

Put  on  head  K-ex*  the  eldest  sons  past  of  the  wolves. 

La'lae  lawuls  g*a'xlae  e'itet.  La'lae  qolx-Idux  sa  xaweq.  La 'lae  wax* 

Then  it  is  he  went  he  came  it  again.  Then  it  is  they  hung  on  his  the  skulls.  Then  it  is  they 
said  out  is  said  said  body  said  tried 

k*’e'lax*btso  sis  g*o'kulot.  Lae  do'x’uaLELExs  beimaa/xoL  be'ikulax 

to  kill  him  his  tribes.  Then  they  discovered  he  it  was  hehaddoneit 

10  Lo'LaElqame  s aLo'dendx.  Laam  la'Xso  la'xa  t’E'nayi  lae.  TE'm’yale 

the  chief’s  sons  of  wolves.  Then  he  went  at  the  door  in  the  it  is  They  made 

through  rear  said.  sounds 

tame'nas  qwis  nEino'kue  ma'yusustalag*ilaku.  G*ax’am  e'ideL  tses 

squirrel  and  his  friend  raccoon.  He  brought  again  into  his 

the  house 

sI'siuL,  laa'm  yixuma'la  xa  sI'siuL.  Gl'l’Em  lawis  neLEmx-’it  la'xoa 

si'siuL,,  then  his  mask  the  si'siuL.  First  it  is  said  he  showed  his  at  the 

face 

t?Ex*i'la  la/’aslo't’et  xes  yixu'mL.  A'Em  lawis  g*o'kulotas  sE'lsElxs’aleL, 

door  then  he  uncov-  his  mask.  Only  it  is  said  his  tribe  became  twisted, 

ered 

lae  do'xoaL  Les  yixu'mL.  La'lae  K-ex*  da'doqawa  xes  na'Xua  LeLE- 

then  they  saw  his  mask.  Then  it  is  K-ex*  selected  his  all  his  rela- 

said 

15  Lala  ^a'wes  La'xula  la'xa  na'Xua  bEgua'nEm  qa  s q’u'lax-’itamase. 

tives  and  his  liked  among  all  men  to  make  them  alive, 

the 


Laam  la'pa. 

That  is  the  end. 

[To  page  610.] 


KOSKIMO  DIALECT. 

X*etsax*ostowaya  x*etsax*ostowaya  Lawu'lqamaya  Lawu'lqamayas 

Look  up  to  the  world  look  up  to  the  world  chief’s  son  chief’s  son 

Q’o'misila  Q’o'misila. 

rich  maker  rich  maker. 

[To  page  612.] 


LA'LASIQOALA  DIALECT. 

Hayasa  bond  lala'ya  bond  bana  bau. 

20  Hayasa  bond  lalaya  bond  bana  bau. 

QoaL  qoa'sayak-’esLas  wia'laL. 

Do  not  cry  you  will  re- 

turn safely. 


THE  KWAKIUTL  INDIANS. 


729 


[To  page  614.] 

LA'LASIQOALA  DIALECT. 

Ha  ha  lag*anEniLe  ha/yalalaqola  ma'lats’Es  ma'mLeaxtowe  ha  ha  ha. 

Ha  ha  you  do  not  a good  answer  wash  tub  you  who  bring  the  ha  ha  ha. 

give  me  southeast  wind 

[To  page  615.] 

SONG  OF  ME'LXMERUS.— LA'LASIQOALA  DIALECT. 
Hau'LelalisLoL  q’a/yusqEmaya'ita. 

I will  listen  to  you  having  the  old  tale 

attached  to  it. 

Hau'LelalisLoL  anoguadenoXslaeda. 

I will  listen  to  you  what  belongs  to  us. 

[To  page  630.] 

SONG  OF  THE  DEER. 

1.  Wa/xalaLEns  xa'LaLxa  qe'watsea  g-a'xtsek-as  g-ilig-a’lisa  g-ilk-E- 

¥e  say  wa  driving  away  the  great  deer  coming  great  real  standing  on  standing 
by  noise  forelegs 

ya'lisa  ha'maLElisa  le'lqoalaLe,  qe'watse  na'nolenek*as  le'lqoalaLe  we. 

on  forelegs  covering  the  tribes,  great  deer  said  to  be  fool  real  tribes  we. 

over  the 
whole  world 

2.  Ha  aix-LeLa/lants  L’a'yemeista  lE'mxumeista  g-aEns  la'aiLex. 

Ha  we  shall  he  thin  faced  dry  in  mouth  we  shall  go 

au'tsaqalisa  da'oxqoneisLa  x*aits’akdneisLa  qe'watse  na'nolenek*as 

cause  him  had  staring  at  him  getting  sleepy  by  the  great  deer  said  to  he  foolish 

luck  watching  him  real 

le'lqoalaLe  we. 

tribes  we. 

3.  Ha  aix-tElale  ai'gdLmalagdleisa  g’a'laix*de  q*’u'qalag*ileisa 

He  shall  he  made  good  all  around  first  lighting  suddenly 

g-a'laixde  pE'nqalagdleisa  wi'lak*’ineg’ileisa  La'qoak*’ineg*ileisa. 

first  glare  all  around  highness  on  his  body  copper  on  his  body. 

Sa'yaxoa  wuLE'mno'guas  haiya'ikdla  a'm’aikdla  liai'inosEla  wu'Loda- 

Pure  antlers  having  his  unbroken  not  cracked  that  is  antlers  taken 

lag-ileitsos  ai'yalqunxelis  le'lqoalaLe.  Ha,  wai'g*a  x*ins  xa'Layaqa, 

off  everywhere  speakers  of  tribes'.  Ha,  let  us  drive  him  away, 

wai'g*a  da/daxuletsE'mnoxLas  da'xoaxsaletsE'mnoxLas  ts’e/tseLwala- 

let  him  try  to  jump  as  far  as  possible  jumping  over  the  highest  one  famous  all 

gileisteis  le'lqoalaLe,  qe^watse  na'noleneik-os  le'lqoalaLe  we. 

around  tribes,  great  deer  said  to  he  foolish  tribes  we. 

[To  page  631.] 

SONG  OF  NO'MAS. — LA'LASIQOALA  DIALECT. 

1.  Aix-’amLts  heilisLoL  nomasa'. 

Good  you  made  right  old  man. 

2.  Qais  k’ue'latseneLos  nomasa'. 

For  you  will  give  a feast  old  man. 

3.  Qais  t’eqoap’eneLos  nomasa'. 

For  you  make  a fire  with  old  man. 
stones  in  it 


1 

5 

10 

15 


730 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


TUNE,  RECORDED  BY  F.  BOAS. 


I 


hei  - lis  - l5s 
tse  - ne  - Los 

e - ne  - los 


nd  - ma  - sa | 

do  - ma  - sa  [ ha 

no  - ma  - sa J 


am 


ha. 


[To  page  631.] 


SONG  OF  AYI  LKOA. 


1 Ohoya  hoya  hoya  ha,  hoya  hoya  ha,  hoya  ho  hya  uho  ho. 

1.  AoyaLalax  g-ins  yayax-ap’aeiseik-  lax  lo'wa. 

Slowly  we  race  against  each  other  in  world, 

on  ground 

2.  AoyaLalax  g-ins  qa/qasap’eL  g-ins  lax  lo'wa. 

Slowly  we  walk  racing  we  in  world. 

3.  Ha,  no'guam  anx’anqoa'mas  g-in  g-a'yuLe  lax  gua'paale't^es 

Ha,  I am  the  one  who  makes  : I come  to  you  from  the  north  end  of  the 

clouds 

5 lo'wa. 

world. 

4.  Ha,  no'guam  p’E'lxp’Elxamas  g-in  g-a'yuLeX  lax  gua'paale'tses 

Ha,  1 am  the  one  who  makes  I come  to  you  from  the  north  end  of  the 

the  fogs 

lo'wa. 

world. 


5.  Ha,  no'guam  L’exL’exa'mas  g-in  g-a'yuLeX  lax  La'qoag-ilak-as 

Ha,  I am  the  one  who  makes  the  I come  to  you  from  the  copper  maker  real 

sky  red  in  the  morning 

owa. 

good. 

10  6.  Ha,  no'guam  ts’E'lxts’Elqoa'mas  g-in  g-a'yuLe  g-in  lax  aix-ts’um- 

Ha,  lam  the  one  who  makes  it  warm  I come  to  you  I from  the  bright 

g-ilak-as  owa. 

maker  real  good. 

7.  Ha,  la'mla  lae  a'daxEnesElaLes  Lawu'lqameLos  amia'xalasots’esa. 

Ha,  and  then  he  will  perform  the  Tongass  your  chief’s  son.  the  one  whom  we  praise, 
dance 


[To  page  631.] 

SONG  OF  THE  KILLER  WHALE.— HEILTSUQ  DIALECT. 
Amiaxalalaqai  lia'lx’ainoxkuas’oqai  La'LtsIstaiLElakuas’o  laxs  g-o'- 

Praise  the  killer  whale  coming  up  in  the  house  real  in  the  good 

kwasowawusqai  he'mask-as. 

house  the  chief  real. 


THE  KWAKIUTL  INDIANS. 


731 


[To  page  631.] 

SONG  OF  THE  RAVEN. 

Qaqa/m.  Qaqau  qaqau,  qaqau,  qaqau,  qaqa/  qaqau.  1 

Q’ane'staisElag-ilaisk-as’o  qowik-as’o. 

Soaring  around  real  raven  real. 

Ya/yaqayalaenoxqoaso  qowik*as’o. 

Knowing  to  obtain  wealth  raven  real. 


[To  page  631.] 

SECRET  SONG. 

Ya’mEne'X  ogua'yiyaha,  ya’mEneX  ogua/yiyaha. 

O you  small  poor  ones  O you  small  poor  ones, 

ones  ones 

Hailoqoa'mEneX  ogua/yiyaha,  hailoqoa'mEueX  ogua'yiyalia. 

Speakers  small  ones  to  me,  speakers  small  ones  to  me. 

[To  page  633.] 

LOKOALA  SONG. 

* — 126.  ^ 

^ O Q a O 


m 


Ya  na 

A O 


he 


ye  he  ya 


ye  ya 


_h 


P 


n e - qoa  - yes  lo  - koa  - ne 
A A 


he  he  - ye  e 


^ # # # ^ *— 

i - emc  - neL  - ko  - a - ne  - ha 


hak  - Les  ha  - nat  - mots 


na  qe  - is  - et  an  - es  lo  - koa  - ne  a he  he  ye  e. 
[To  page  633.] 

SONG  OF  THE  NUTCA'LATH  SOCIETY. 


e he  ye  he  ye  e a qetciL  hakwe  tsakwa 


e he  ye  - suk  wi  - e - ats  - ul  wa  he  ye. 


732 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


[To  page  633.] 

SONG  OF  THE  MO'TCLATH  SOCIETY. 


==T 


# # * 

He  he  ha  ya-  e he  he 


ya  - e l5  - koa'  - na  ya  - e he 


m 


v#-  i ^ * 

he  ha  ya  - e he  he  ya  ya  - e he  he  ha  ya  - e. 

[To  page  634.] 

SONG  OF  AAl'LQE. 

Fine. 


Ha  ya  ha  ya. 


# * -iT 

Ha  ya  ha  ya 


~j — ? I 


u Li  me. 


i 


— H 1 ft 


ha  ya  na  - du  u Li  me. 


— * — i — r i — * 

na  - nu  u Ll  me  ha  - ya. 


[To  page  634.] 

SONG  OF  HiNEMIX*. 


z=qz 


^ * * 


=4s=qr 


Ha  - na  - 1 ya  i a na  ha  na  - 1 ya  ha  a na 

Clapping.  •?  J 1 J "7  £ *7  £ *7  £ 7 * | etc* 


ha  na 


ha  nai  y5 


he  ne  mix’sna  a haa  naL  wek  qus  - ta  ma  - 


ha  na  a ha  na  - i ya  ha  na  - i yo  - h5  nd  h5. 
ifr  ( 1 ) The  last  note  drawn  down  one  eight. 


THE  KWAKIUTL  INDIANS. 


733 


0 rr:  1 16. 


[To  page  642.] 

SONG  OF  TS’a'YEQ. 

o 


it  q _N- .....  i-  ^ - -a  4-  ' 

~ -#■ 

Uti  hd* 

0 0 0 

ha  he  a 

O 

V ^ • # # • 

ha  hd  he  he  e 

o o o o 

-0 

e 

Z -j  -IS 

i 1 

J II 

XT  9 • w • .0.  9 * 

hd 


wek  mo . 


uc  - taq  - yu 


ha  ne 


he 


he. 


The  following  song  is  one  of  those  sung  by  members  during  the 
initiation  ceremonies  in  the  house : 


3 

■ 

00 

r 

o 

o o o 

Jfe-f P— ^ 

jr-KtH  HS 

P * t 7^ 

1 i 

y 1 

1 h y 

A ya  ye  - ya  ye  - ya  ye  a h5  - uc 

Rapid  beating.#h— etc.  | > | jS  *7  jK  *7  | 


o o o o o 


-rfr-. 

Wrs-—f ^ 



S2 — b- — — 1 

t-  y 

h y— 1 

0 s I 

taq  yu  a ye  ya  ye  ya  ye  a 


ha  5 Le  - tci  tu  - Le  ye  e ye  ye. 

This  song  is  repeated  ad  infinitum ; in  the  repetitions  quarters  are 
beaten  right  through.  The  dancer  jumps  at  the  end  of  each  quarter 
from  one  foot  to  the  other.  At  each  jump  he  lifts  one  hand  and  extends 
the  other  downward  and  backward. 

[To  page  656.] 

SONG  OF  SLEEP. 

AiwoL  woxkua',  aiwoL  woxkua'. 

Oh  how  sleepy  we  are ! oh  how  sleepy  we  are ! 

Ade  gugo'et  noL  g-amku  aL  ts’Em  laxha'  ya!  Lag-ix*  txalda'uL 

Whenever  strikes  me  the  heat  of  heaven  ya ! again  comes 

dEm  wox  qa  s nekc  Em  wox,  kua! 

(future)  sleep  to  the  husband  of  sleep,  kua ! . 

AiwoL  woxkua',  aiwoL  woxkua' ! 

Oh  how  sleepy  we  are ! oh  how  sleepy  we  are ! 


LIST  OF  ILLUSTRATIONS. 

PLATES. 

Facing  page. 

1.  Nisqa'  headdress  representing  the  white  owl 324 

2.  Masks  of  the  clan  Qanha'da,  Nisqa' 326 

3.  Grave  monument  representing  the  ho'Xhoku,  a crest  of  the  clan  Laxse  of  the 

Q’o'moyne 336 

4.  Copper  plate  with  design  representing  the  hawk 344 

5.  View  of  Fort  Rupert,  looking  westward,  showing  blanket  posts  ( a , b) 345 

6.  Chief  holding  hi3  copper 346 

7.  Counting  blankets 348 

8.  Counting  blankets 348 

9.  Chief  delivering  speech  at  festival 348 

10.  Chief  delivering  speech  at  festival 348 

11.  Chief  holding  broken  copper 354 

12.  Chieftainess  holding  broken  copper 354 

13.  Image  representing  the  rival  chief 356 

14.  Houseposts  representing  animals  holding  coppers 357 

15.  Dance  of  the  chief  of  the  Haa/nalino  clan 358 

16.  Columns  in  Fort  Rupert 379 

17.  Statue  representing  the  killer  whale 381 

18.  Statue  of  chief  selling  a copper 390 

19.  Statue  of  chief  breaking  a copper 390 

20.  Carved  dishes  used  by  the  Fort  Rupert  Indians 390 

21.  Carved  dishes  used  by  the  Fort  Rupert  Indians 390 

22.  Posts  in  house  of  Qoe'xsot’endx 414 

23.  Rock  carving  on  the  beach  at  Fort  Rupert,  representing  the  face  of 

BaxbakualanuXsI'wae 440 

24.  Rock  carvings  on  beach  at  Fort  Rupert,  representing  the  sea  monster 

Ia'k*im  and  a number  of  small  faces 440 

25.  Rock  carvings  on  beach  at  Fort  Rupert,  representing  a series  of  faces 440 

26.  Rock  carvings  on  beach  at  Fort  Rupert,  representing  a series  of  human  faces . 440 

27.  Tree  burial  in  Fort  Rupert 441 

28.  Dance  of  the  Ha'mats’a 444 

29.  Ha'mats’a  coming  out  of  secret  room . 446 

30.  Masks  representing  BaxbakualanuXsI'wae 447 

31.  Raven  mask  and  dress  of  red  and  white  cedar  bark,  worn  by  the  Ha/mats'a 

of  the  Na'q’oaqtdq 448 

32.  Dress  of  Walas  Na'ne 467 

33.  The  Noo'nlemala 469 

34.  Mask  of  Nulmal 469 

35.  Na'naqaualil  dance 472 

36.  The  Walas’axa'... 477 

37.  Wolf  mask 478 

38.  Dance  of  Me'ila 484 

39.  D’E'ntsiq 491 

40.  Paintings  on  the  sides  of  a bedroom 496 

41.  Painting  on  the  front  of  a bedroom 496 

42.  The  master  of  ceremonies,  Nu'xnemts,  and  his  speaker,  Ho'lelite 501 

43.  Place  where  the  secret  meetings  of  the  winter  ceremonial  are  held 520 

44.  The  return  of  the  Ha'mats’a 528 

45.  The  return  of  the  Ha'mats’a 594 

46.  Ihe  Ha/mats’as  of  the  Koskimo  in  a feast 595 

47.  Lao'laxa  dance .626 

48.  Mask  of  the  Nootka,  representing  the  Hi'nemix 634 

734 


THE  KWAK1UTL  INDIANS. 


735 


Facing  page. 

49.  Masks  of  the  Nootka 635 

50.  Rattle  of  the  Nootka 635 

51.  Head  ring  of  the  Tsa'yeq,  Alberni 642 

TEXT  FIGURES. 

Page. 

1.  Post  of  clan  Sl'sinlae  of  the  Nimkish  at  Alert  Bay 338 

2.  Copper  plate 342 

3.  Copper  plate 343 

4.  Copper  plate 354 

5.  Potlatch  mask  of  the  Kukwa'kum 357 

6.  Marriage  mask  of  the  L’a'sq’endx 365 

7.  Ground  plan  of  Kwakiutl  house 367 

8.  Elevation  and  section  of  Kwakiutl  house 368 

9.  View  of  rear  part  of  house  in  Xumta'spe 370 

10.  Wood  carving  representing  the  Si'siul 370 

11.  Settee,  with  carving  representing  the  Si'siul 371 

12.  The  Si'siul 371 

13.  Mask  representing  the  Ts’o'noqoa 372 

14.  Housepost  in  Xumta'spe  representing  the  Ts’o'noqoa 372 

15.  Mask  representing  Aik'a’a'yolisana . 375 

16.  House  front  of  the  clan  G*e'xsEm,  La'Lasiqoala 376 

17.  House  front  of  the  clan  Gu'gilqam,  La'Lasiqoala 377 

18.  House  front  of  the  clan  G’I'gilqam,  Nimkish 378 

19.  Statue  from  house  in  Xumta'spe 379 

20.  Housepost  representing  a sea  lion 379 

21.  Heraldic  column  from  Xumta'spe 380 

22.  Posts  in  the  house  of  the  clan  G'e'xsEm,  Naqd'mg-ilisala 381 

23.  Post  in  house  of  the  clan  G*e'xsEm,  Naqd'mg'ilisala 381 

24.  Speaker’s  staff 382 

25.  Statue  of  speaker  talking  to  the  people 390 

26.  View  of  the  village  of  Xumta'spe 391 

27.  Food  tray 392 

28.  Seal  dish 392 

29.  Seal  dish 392 

30.  Seal  dish 393 

31.  Detail  of  sea-lion  dish 393 

32.  Canoe  dish 394 

33.  Canoe  dish  with  sea-lion  design 394 

34.  Canoe  dish  with  animal  design 394 

35.  Side  of  box  drum  with  painted  design  representing  the  eagle 395 

36.  Post  of  Le'laxa  in  Xumta'spe 414 

37.  Mask  representing  J^Vmtalal  as  the  thunder  bird 415 

38.  Mask  representing  ^’a'mtalal 415 

39.  Head  ring  of  £)’a'mtalal.'„ 416 

40.  Neck  ring  of  jq’a'mtalal 416 

41.  G-I'sExstala,  ceremonial  box  lid 421 

42  and  43.  Batons  used  by  assistants  of  singing  master 431 

44.  Baton  of  singing  master 432 

45.  Baton  representing  a Sea  lion 432 

46.  Baton  representing  a sea  lion 432 

47.  Baton  representing  a sea  lion 433 

48.  Baton  representing  a sea  lion 433 

49.  Baton  representing  a sea  lion  or  killer  whale 434 

50.  Baton  representing  a sea  lion,  a bear,  and  a killer  whale 434 

51.  Rattles  of  he'lig*a  representing  the  head  of  a dead  person 435 


736  REPORT  OF  NATIONAL  MUSEUM,  1895. 

Page. 

52.  Rattle  of  he'lig-a 435 

53.  Rattle  of  he'lig-a  representing  a human  face 436 

54.  Rattle  of  he'lig-a,  set  with  red  cedar  hark,  representing  a conventionalized 

face „ . 437 

55.  Rattle  of  he'lig-a,  set  with  cedar  hark,  representing  a conventionalized 

face 437 

56.  Rattle  of  he'lig-a,  probably  of  Haida  manufacture 438 

57.  Rattle  of  he'lig-a . 438 

58.  Rattle  of  he'lig-a 439 

59.  Rattle  of  he'lig-a 440 

60.  Rattle  of  he'lig-a . 440 

61.  Rock  carving  at  Fort  Rupert 441 

62.  Dance  of  the  ha'mats’a 442 

63.  Head  ring  of  ha'mats’a,  ornamented  with  four  crosspieces 442 

64.  Head  ring  of  ha'mats’a 443 

65.  Head  ring  of  ha'mats’a 443 

66.  Head  ring  of  ha'mats’a 443 

67.  Head  ring  of  ha'mats’a . . 443 

68.  Large  head  ring  of  ha'mats’a 444 

69-73.  Whistles  of  ha'mats’a 445 

74.  Double  whistle,  with  four  voices.. 445 

75.  Painting  on  the  front  of  a ma'wil,  representing  the  face  of  Baxbakualanu- 

Xsl'wae 446 

76.  Mask  of  Qoa'qoaXualanuXsi'wae,  set  with  feathers  and  red  cedar  bark..  447 

77.  Mask  of  BaxbakualanuXsI'wae,  set  with  red  cedar  bark 448 

78.  Ho'xhoku  mask  of  the  Na/q’oaqtoq 449 

79.  Head  ring  of  ha'mats’a 450 

80.  Head  ring  of  ha'mats’a 450 

81.  Neck  ring  of  ha'mats’a 451 

82.  Raven  mask 451 

83.  First  head  ring  of  Xa'niats’amg-ilaku 452 

84.  Second  head  ring  of  Xa'niats’amg-ilak0 452 

85.  Third  head  ring  of  Xa'niats’amg-ilaku 453 

86.  First  neck  ring  of  Xa'niats’amg-ilaku 453 

87.  Second  neck  ring  of  Xa'niats’amg-ilaku 454 

88.  Head  ring  worn  by  Xa'niats’amg-ilaku  in  feasts 454 

89.  Neck  ring  worn  by  Xa'niats’amg-ilaku  in  feasts 455 

90.  Head  ring  of  Xa'niats’amg-ilaku 455 

91.  Neck  ring  of  Xa'niats’amg-ilaku 456 

92.  First  head  ring  of  Lexx-a'lix-ilagu 457 

93.  Second  head  ring  of  Lexx-a'lix-ilagu 457 

94.  Head  ring  worn  by  Lexx-a'lix-ilagu  in  feasts 458 

95.  Neck  ring  of  Lexx-a'lix-ilagu 458 

96.  Rattle  of  k-l'nqalaLala 462 

97.  Rattle  of  k-i'nqalaLala 462 

98.  Head  ring  of  q’o'minoqa 463 

99.  Ha'mshamtses  mask : 464 

100.  Mask  of  ha'mshamtses 465 

101.  Mask  of  ha'mshamtses,  representing  the  raven 466 

102.  Mask  of  ha'mshamtses:  outer  mask,  the  sea  monster  Ia'kim;  inner,  the 

killer  whale 467 

103.  Mask  of  ha'mshamtses 468 

104.  Mask  of  ha'mshamtses 469 

105.  Mask  of  ha'mshamtses 470 

106.  Mask  of  ha'mshamtses,  representing  the  bear  471 

107.  Mask  of  ha'mshamtses  with  movable  jaw  and  forehead 472 


THE  KWAKIUTL  INDIANS.  737 

Page. 

108.  Mask  of  ha'mshamtses 472 

109.  Mask  of  ha'mshamtses,  representing  the  raven 473 

110.  Mask  of  ha'mshamtses 473 

111.  Head  ring,  neck  ring,  and  arm  rings  of  bear  dancer 473 

112.  Head  rings  and  neck  ring  of  the  bear  dancer,  Koskima 474 

113.  Lance  of  Nu'lmal ..  475 

114.  Lance  of  Nu'lmal 476 

115.  Lance  of  Nu'lmal , 476 

116.  Club  of  Nu'lmal 476 

117.  Mask  of  Nu'lmal 477 

118.  Mask  of  Nh/lmal 477 

119.  Mask  of  Nu  lmal 478 

120.  Mask  of  Nu'lmal 478 

121.  Mask  of  Nu'lmal 478 

122.  Mask  of  Nulmal 478 

123.  Mask  of  Nulmal 479 

124.  Head  mask  of  Na/naqaualiL,  set  with  bird  skins 479 

125.  Head  mask  of  Na/naqaualiL,  set  with  bird  skins. 479 

126.  Head  mask  of  Na/naqaualiL 480 

127.  Head  mask  of  Na/naqaualiL 481 

128.  Head  mask  of  Na/naqaualiL,  representing  the  ho'Xhoku 483 

129.  First  head  ring  of  Nenalaats’eqa 484 

130.  Second  head  ring  of  Nenalaats’eqa 485 

131.  Mask  of  Nenalaats’eqa 485 

132.  Head  ring  of  speaker  of  Nenalaats’eqa 486 

133.  Neck  ring  of  Nenalaats’eqa 486 

134.  Head  ring  and  neck  ring  of  Na/naqaualiL 488 

135.  Mask  of  ha/’maa 489 

136.  Mask  of  salmon  dancer 490 

137.  Masks  of  wasp  dancer  491 

138.  Mask  of  Qo'loc 491 

139.  Whistle  of  Qoloc 492 

140.  Wolf  masks  for  the  Walas’axa' 493 

141.  Mask  of  Ts’o'noqoa 494 

142.  Mask  of  Ts’o'noqoa 495 

143.  Mask  of  Ts’o'noqoa 495 

144.  Mask  of  Ts’o'noqoa  496 

145.  Mask,  of  the  sea  monster  Ia'k-im 496 

146.  Head  ring  of  ghost  dancer 497 

147.  Neck  ring  of  ghost  dancer 497 

148.  Head  ring  of  ghost  dancer 501 

149.  Club  and  neck  ring  of  Me'ila . . 501 

150.  Clapper  of  Me'ila 502 

151.  Head  rings  of  ma'maq’a  of  the  La'Lasiqoala ,... . 502 

152.  Neck  ring  of  ma'maq’a. 503 

153.  Carved  head  used  in  the  t’o'Xuit  dance 503 

154.  Carved  head  used  in  the  t’o'Xuit  dance 504 

155.  D’E'ntslq 506 

156.  Figure  representing  the  no'nLEmg-ila 507 

157.  Figures  representing  a pair  of  no'nLEmg-ila 508 

158.  Figure,  with  movable  arms  and  a bird  sitting  on  its  head,  representing 

the  no'nLEmg-ila 509 

159.  Bird  of  no'nLEmg-ila- 509 

160.  Head  of  no'nLEmg-ila 510 

161.  Headdress  of  o'lala 510 

NAT  MUS  95 47 


738 


REPORT  OF  NATIONAL  MUSEUM,  1895. 


Page. 


162.  Head  ring,  neck  ring,  and  whistle  of  ts’e'k’ois 511 

168.  Head  ring  of  si  lls 511 

164.  Weapon  of  A'hnlala 512 

165.  Small  slabs  of  wood  which  are  sewed  to  the  body  of  the  hawl'nalaL 513 

166.  Neck  ring  of  hawi'nalaL 514 

167.  Belt  of  si'siuL 514 

168.  Knife  of  hawl'nalaL,  representing  the  si'siuL 515 

169.  Knife  of  hawi'nalaL,  representing  the  sI'siuL 515 

170.  Mask  of  Xoa'exoe 516 

171.  Mask  of  Xoa/exoe 516 

172.  Rattle  of  Xoa/exoe  516 

173.  Cedar  bark  blanket  of  Hai'alik-auae,  showing  Hai'alik-auae  and  two 

killer  whales,  painted  in  red.. ? 517 

174.  First  head  ring  of  Hai'alik-auae 517 

175.  First  neck  ring  of  Hai'alik-auae 518 

176.  Second  head  ring  of  Hai'alik-auae 520 

177.  Third  head  ring  of  Hai'alik-auae 520 

178.  First  head  ring  of  Hai'alik-auae 521 

179.  Second  head  ring  of  Hai'alik-auae 522 

180.  Neck  ring  of  Hai'alik-auae 523 

181.  Head  ring  of  Hai'alik-auae 524 

182.  Neck  ring  of  Shaman,  made  of  red  cedar  bark 525 

183.  Head  ring  of  wa'tanEm 525 

184.  Head  ring  of  the  chief  of  the  killer  whale  society 526 

185.  Head  ring  of  que'qutsa 527 

186.  Head  ring  of  one  who  is  admitted  to  the  winter  ceremonial  for  the  first 

time 527 

187.  Neck  ring  of  one  who  is  admitted  to  the  winter  ceremonial  for  the  first  time.  528 

188.  The  return  of  the  novice. 595 

189.  Koskimo  whirring  stick 611 

190.  Raven  rattle 623 

191.  Raven  rattle 624 

192.  Lao'laxa  mask  representing  the  deer 625 

193.  Mask  of  No'rnas i 626 

194.  Lao'laxa  masks  representing  seven  different  speakers 627 

195.  Lao'laxa  mask  represen  tingthe  killer  whale 628 

196.  Raven  mask  and  whistle 629 

197.  Lao'laxa  double  mask  representing  the  sun 630 

198.  Mask  of  the  Nootka 635 

199.  Head  ring  of  the  tsa'yeq 642 

200.  Mask  of  the  S’a'lpsta 650 

201.  Headdress  of  olala' 651 

202.  Part  of  a headdress  representing  the  5lala' 652 

203.  Part  of  a headdress  representing  the  olala' 652 

204.  Wood  carving  representing  the  olala' 653 

205.  Olala'  whistle 654 

206.  Olala'  whistle 654 

207.  Olala'  whistle 654 

208.  Head  ring  of  me'ila 655 

209.  Rattle  representing  the  bear 656 

210.  Rattle  with  design  representing  the  killer  whale 657 

211.  Rattle 658 

212.  Rattle 658 

213.  Wooden  rattle  representing  a shell 659 

214.  Mask  representing  the  spirit  of  sleep 659 

215.  Mask  representing  the  cold 660 


?>£  fe  1 5 


GETTY  RESEARCH  INSTITUTE 


3 3125  01045  8491 


